RESEARCH  LIBRARY 
THE  GETTY  RESEARCH  INSTITUTE 


JOHN  MOORE  ANDREAS  COLOR  CHEMISTRY  LIBRARY  FOUNDATION 


Raymond  Pettibon 


STUDENT’S  HANDBOOK  OF 

PAINTS,  COLOURS,  OILS,  AND 
VARNISHES 


Digitized  by  the  Internet  Archive 
in  2016 


https://archive.org/details/studentshandbookOOfurn 


STUDENT’S  HANDBOOK 


OF 

PAINTS,  COLOURS,  OILS, 
AND  VARNISHES 


BY 

JOHN  FUENELL 

MANUFACTURING  FOREMAN,  AND  LECTURER  AND  DEMONSTRATOR  ON  THE 
MANUFACTURE  OF  PAINTER’S  OILS,  COLOURS,  AND  VARNISHES 
AT  THE  POLYTECHNIC,  REGENT  STREET,  LONDON,  W. 


WITH  TWELVE  ILLUSTRATIONS 


LONDON 

SCOTT,  GREENWOOD  & SON 

“ THE  OIL  AND  COLOUR  TRADES  JOURNAL”  OFFICES 

8 BROADWAY,  LUDGATE  HILL,  E.C. 

CANADA:  THE  COPP  CLARK  CO.  LTD.,  TORONTO 
UNITED  STATES:  D.  VAN  NOSTRAND  CO.,  NEW  YORK 

1903 

[All  rights  remain  with  Scott , Greenwood  & Son] 

3 


THE  GETTY  RESEARCH 
INSTITUTE  LIBRARY 


PREFACE. 


+ 


HIS  book  is  written  with  a view  to  give  “ first-year 


students  engaged  in  the  study  of  the  manufacture  of 
painter’s  oils,  colours,  and  varnishes  at  the  various  technical 
classes  an  opportunity  to  fully  grasp  the  Ordinary  grade  course, 
with  a view  to  their  qualifying  themselves  for  the  prizes  and 


examination  held  annually. 

It  is  written  by  an  old  student,  who  has  attended  for  several 
years  a course  of  instruction  in  these  subjects  at  several  Poly- 
technics in  London.  He  felt  that  an  elementary  book  was 
necessary  for  those  who  are  deficient  in  chemistry,  and  who 
go  away  feeling  somewhat  disappointed  at  their  not  fully 
understanding  all  that  has  been  mentioned  to  them  in  the 
lectures. 

Chemistry  is  absolutely  necessary  for  all  engaged  in  this 
industry ; but  first-year  students  need  not  despair  or  be- 
come disheartened,  since  the  first  or  Ordinary  grade  is  rendered 
somewhat  easy  by  the  examiners,  to  encourage  students  to 
continue  the  course  and  pass  the  higher  or  Honours 
grade. 


certificates  offered  by  The  City  and  Guilds  of  London  Institutes 


VI 


Preface 


It  will  be  necessary  for  the  student  to  carefully  read  and  do 
the  practical  work  set  forth  in  these  pages,  and  afterwards 
write  out  fully  all  work  done  and  answer  the  questions  set  at 
the  end  of  this  book.  By  so  doing  he  will  be  thoroughly 
equipped  for  the  examination  at  the  end  of  the  session.  The 
works  already  published  on  this  subject  are  somewhat  advanced 
for  first-year  students,  but  can  with  great  advantage  be  taken 
up  for  the  advanced  or  Honours  grade. 

The  book  will,  I hope,  prove  of  great  value  to  those  students 
who  wish  to  cultivate  their  talents  with  a view  to  occupying 
better  appointments  in  the  laboratories  and  factories,  and  if 
this  should  prove  in  course  of  time  of  great  benefit  to  them,  the 
object  desired  will  be  attained. 


London,  July  1903. 


J.  F. 


CONTENTS. 


SECTION  PAGE 

Preface v 

I.  Plant  necessary  for  making  Lemon  and  Middle 

Chromes  1 

II.  Chromes : 6 

Lemon  Chrome — Middle  Chrome — Orange  Chrome — 

Zinc  Chrome — Chrome  Plant. 

III.  The  Making  of  Chinese,  Prussian,  and  other  Blue 

Pigments 15 

The  Making  of  Pale,  Middle,  and  Deep  Brunswick 
Greens  by  Dry  and  Wet  Methods. 

IV.  The  Making  of  Emerald  Green  and  its  Substitutes  . 19 

Bronze  Greens — Olive  Green — Quaker  Green — Myrtle 
Green — Malachite  Green — Ultramarine  Blue. 

Y.  Earth  Colours  or  Pigments 25 

Levigating  Plant — Raw  Sienna — Burnt  Sienna— Raw 
Turkey  Umber — Burnt  Turkey  Umber — Ochres. 

VI.  Brown  and  Black  Pigments 31 

Vandyke  Brown — Carbon  Black — Lamp  and  Vegetable 
Blacks — Ivory  and  Bone  Blacks. 

VII.  Reds 34 

Vermilion — Venetian  Red — Red  Oxides — Vermilionettes 
— Royal  Reds. 

VIII.  Lakes 39 

Rose  Pink — Yellow  Lake — Colours  made  by  Aniline 
Dye  Stuffs — Lemon  Lake — Orange  Lake — Red  Lake 
— Blue  Lake — Violet  Lake — Black  Lake. 

vii 


viii  Contents 


SECTION  PAGE 

IX.  Lead  Compounds 44 

Red  Lead — Orange  Lead. 

X.  White  Pigments 46 

Corroded  White  Lead — Sulphate  of  Lead — Zinc  Oxide. 

XI.  Barytes  and  Whitening 50 

XII.  Painter’s  Oils 52 

Raw  Linseed  Oil — Refined  Linseed  Oil — Pale  Boiled 


Oil — Dark  Boiled  Oil — Adulterants  for  Linseed  Oil 
— Oil- Boiling  Plant — Specific  Gravity. 


XIII.  Turpentine 58 

XIV.  Oil  Varnishes 60 

Varnish  Plant  and  Factory  Methods  of  Manufacture — 
Recipes — Flatting  Varnishes. 

XV.  Spirit  Varnishes,  Polishes,  and  Stains  ...  67 

XVI.  Liquid  Paints 70 

Methods  of  Mixing — Recipes. 

XVII.  Enamel  Paints 73 


Grinding — Mixing — Zinc  Oxide — V ermilionette — Prus- 
sian Blue — Chromes — Burnt  Sienna — Ochres  and 
Burnt  Umber — Recipes. 

XVIII.  Questions 79 


INDEX 


83 


STUDENT’S  HANDBOOK  OF 

PAINTS,  COLOURS,  OILS, 
AND  VARNISHES 


SECTION  I. 

Plant  necessary  for  making  Lemon  and 
Middle  Chromes. 

THE  student  should  be  made  acquainted  with  the  plant  used 
by  colour  manufacturers  to  obtain  the  various  pigments 
which  are  produced  by  precipitation,  etc.  A very  simple 
method  is  arranged,  so  that  the  plant  is  mainly  made  out  of 
barrels  and  other  things,  and  is  in  reality  a “home-made 
plant.”  The  following  sketch  will  fully  illustrate  how  this  is 
brought  about.  The  two  barrels  in  the  sketch  are  generally 
good  sound  turpentine  barrels,  which,  after  being  emptied  of 
their  contents  and  drained,  are  placed  under  a steam  pipe. 
A piece  of  pipe  is  connected  with  a T-piece,  and  after  un- 
screwing this  length  and  placing  one  end  in  the  bung  hole 
of  the  barrel,  and  again  screwing  this  to  the  T-piece,  the  steam 
is  turned  on,  and  after  a time  the  barrel  becomes  thoroughly 
clean  and  ready  for  colour-making. 

The  barrels  are  now  thoroughly  coopered,  and  one  head 


i 


2 Paints,  Colours,  Oils,  and  Varnishes 

is  taken  out  and  several  additional  iron  hoops  are  put  on  to 
strengthen  them.  A IE-inch  hole  is  bored  at  the  bottom 


Fig.  1. — Plant  for  making  Lemon  and  Middle  Chromes. 


in  a good  stave  to  admit  a wooden  tap,  the  barrel  being  then 
ready  to  be  put  on  the  wooden  bench,  C. 

This  bench  is  made  very  strong  and  to  carry  heavy  weight, 


Making  Lemon  and  Middle  Chromes 


3 


and  plenty  of  room  or  space  is  left  for  the  colour-maker  to  get 
behind  them  for  cleaning  and  observation  purposes,  and  to  see 
if  the  various  chemicals  used  in  the  making  of  colours  are 
dissolved. 

Directly  underneath  the  two  barrels,  A and  B,  a large  spirit 
puncheon,  D,  or  a vat,  is  placed,  and  on  one  side  of  this  holes 
are  bored  at  intervals  of  6 inches  from  the  top  to  within  a few 
feet  from  the  bottom,  and  wooden  plugs  are  inserted. 

The  floor  is  generally  of  concrete,  or  paving  stones,  laid  on  a 
slight  incline  to  allow  the  water  to  drain  off,  so  that  pools  will 
not  be  formed  for  the  men  to  stand  in  whilst  engaged  in  their 
duties. 

There  must  he  a plentiful  supply  of  good  water,  and  which 
should  be  tested  from  time  to  time  by  the  chemist  for  lime  and 
other  impurities.  A length  of  hose  is  also  useful  for  filling  the 
barrels,  and  for  the  purpose  of  admitting  water  into  the  vats  for 
making  and  washing  the  precipitated  colours. 

A steam  pipe  is  connected  from  a steam  boiler,  above  the 
barrels,  which  have  all  the  necessary  fittings,  E,  and  lengths  of 
piping  are  screwed  on  to  T-pieces  so  that  they  can  he  more 
easily  removed  from  the  barrels  for  cleaning,  and  used  for 
barrels  that  may  be  required  for  making  other  pigments. 

The  next  important  item  is  the  drying-room,  where  all  the 
colours,  after  being  pressed  under  the  hydraulic  press,  are 
placed  for  the  purpose  of  drying  them.  It  is  generally  built 
over  the  factory  steam  boiler,  having  open  iron  gratings  placed 
as  near  the  shelves  as  possible,  on  which  are  the  trays  contain- 
ing the  wet  colour  to  be  dried,  so  that  all  the  waste  heat  may 
be  used.  Steam  coils  are  also  arranged  round  the  room  so  that 
extra  heat  may  be  applied  if  necessary. 

The  drying-room  is  fitted  all  round  and  in  the  centre  with 
skeleton  racks,  made  to  only  admit  lattice-like  trays  being  placed 
thereon.  The  main  object  of  this  is  to  obtain  as  much  heat 
as  possible  to  pass  through  them  for  drying  the  colours.  A 


4 


Paints,  Colours,  Oils,  and  Varnishes 


large  window  is  fixed  in  the  roof,  which  can  he  opened  if  neces- 
sary to  lower  the  temperature  should  it  get  too  high,  and  a 
thermometer  for  registering  the  temperature  is  also  essential. 

The  tools  which  are  required  for  colour-making  are  generally 
cut  out  of  old  staves  of  barrels,  the  patterns  of  which  are  very 
numerous,  and  made  as  thoughts  suggest  themselves  to  those 
making  them.  Some  represent  “ spades  ” for  digging  out  the 
colour  from  the  precipitating  vat  to  place  on  the  filter-cloth, 
others  are  made  smaller  and  resemble  “ trowels  ” in  appearance, 
so  that  the  colour  can  be  taken  off  the  filter-cloth  and  put  into 
the  cloths  to  he  pressed  under  the  hydraulic  press.  All  tools 
are  generally  made  by  the  colour-makers  and  used  for.  their 
several  purposes. 

Filter-frames  and  cloths  and  the  hydraulic  press  complete 
all  the  necessary  appliances  for  making  colours,  though  in  well- 
appointed  factories  everything  is  made  that  experience  and 
science  has  taught,  so  that,  as  far  as  possible,  the  finest  results 
will  he  obtained  by  these  firms,  hut  good  fine  colours  can,  and 
are,  produced  by  the  plant  as  sketched  if  care  and  cleanliness 
are  taken  to  see  that  it  is  thoroughly  cleansed  after  each  colour 
or  chemical  is  dissolved.  Cleanliness  is  most  essential  to  the 
maker,  and  in  the  plant;  if  a workman  is  careless,  then  a dirty 
plant  and  colour-house  and  waste  is  the  result.  Every  colour 
should  he  cleaned  up  as  far  as  possible  before  another  is  started 
on,  and  the  place  will  always  be  kept  tidy  by  so  doing ; and 
before  leaving  the  floor  should  be  cleansed  by  water  and  the 
aid  of  a bass  broom,  because  however  good  the  filter-cloth,  a 
little  colour  is  bound  to  find  its  way  through  on  to  the  floor, 
and  if  left  looks  untidy. 

The  student  will  understand  from  the  sketch  that  the 
capacity  of  the  barrels  is  40  gallons  each,  and  the  one  under- 
neath is  necessarily  twice  that  amount,  or  even  more,  but 
this  is  too  large  for  our  experimental  work,  so  that  we 
shall  have  to  get  a few  flasks  and  beakers  and  work  out 


Making  Lemon  and  Middle  Chromes 


5 


small  batches  of  colour,  and  fancy  to  ourselves  that  we  are 
really  working  the  large  plant.  Should  the  reader  attend  a 
class  this  is  made  very  clear  to  him  by  the  instructor,  who  sees 
that  all  appliances  necessary  for  the  work  are  put  ready  for  each 
experiment. 

In  making  our  first  batches,  we  must  remember  that  colour- 
makers  nearly  all  differ  in  their  methods ; but  when  the  student 
becomes  advanced  and  joins  a chemistry  class,  he  will  know  by 
chemical  equations  how  much  of  each  ingredient  is  required  to 
bring  about  the  proper  proportions.  The  recipes  here  given  are 
only  typical  ones,  and  it  must  not  be  taken  for  granted  that 
they  are  in  every  way  proper  trade  recipes. 

In  making  all  colours  the  student  is  advised  to  take  careful 
note  of  the  chemicals  used,  both  in  their  dry  and  crystal  state, 
and  to  watch  carefully  their  action  in  water  when  dissolving 
and  when  mixed  with  other  solutions.  If  these  little  matters 
are  attended  to,  and  noted  down  in  a rough  laboratory  book, 
they  will  become  handy  for  reference  later  on,  and,  besides,  the 
student  in  this  way  becomes  acquainted  with  each  particular 
chemical  he  is  using,  or  sees  being  used,  in  colour-making. 

This  advice  will  be  found  very  useful  to  those  who  have 
gone  through  a course  of  study  in  this  subject  and  obtain 
a position  in  a colour  factory,  because  when  handling  and 
noting  the  chemicals,  etc.,  in  their  dry  state  or  dissolved,  they 
know  at  a glance  without  asking  those  engaged  in  the  making 
what  this  or  that  is.  Take  note  of  every  little  detail,  for  by 
that  means  men  rise  in  their  professions  and  trades. 


SECTION  II. 


The  Making  of  Chromes. 

JEMON  Chrome. — Having  all  our  plant  necessary  for  the 
making  of  these  beautiful  pigments,  we  will  proceed  to 
weigh  up — 


Bichromate  potash  . . . . . 10  lb. 

Soda  crystals  . . . . . . 20  „ 

Sulphate  soda . . . . . 100  ,, 

Water  .......  20  gals. 

* 


This  is  placed  into  barrel  A,  and  the  steam  is  slowly 
admitted  to  dissolve  the  two  chemicals.  This  is  effected  very 
quickly, — when  the  steam  is  turned  off  and  the  solution 
allowed  to  get  quite  cold.  We  next  weigh  up — 

Acetate  or  sugar  of  lead  . . . . 220  lb. 

Water  .......  20  gals. 

This  is  placed  into  barrel  B,  and  the  steam  admitted  to  dissolve 
it.  When  effected  the  steam  is  stopped  and  the  solution  allowed 
to  get  quite  cold.  When  cold  the  two  solutions  are  run  out 
together  at  the  same  time  and  fall  into  the  vat  D,  which 
results  in  a chemical  reaction  taking  place  between  the  two 
solutions,  and  chromate  of  lead  or  lemon  chrome  is  formed. 

The  reason  these  solutions  must  be  cold  is  that  heat  affects 
these  colours,  which  deepen  them,  and  cause  the  shade  to  be 
different  than  was  expected,  or  would  have  been  produced,  if 
they  had  been  quite  cold.  This  is  a point  to  be  remembered 
by  the  student,  who  is  advised  to  take  these  weights  in  grains 


The  Making  of  Chromes 


7 


and  prepare  them  in  the  cold  and  in  the  “ hot  ” and  note  the 
result,  using  the  same  weights  for  each,  as  it  is  much  better  to 
have  a practical  lesson  than  a theoretical  one. 

The  lemon  chrome  very  quickly  settles  to  the  bottom  of  the 
vat  D (which  is  called  the  precipitating  vat),  and  the  top 
water,  which  is  clear,  or  should  be  (if  the  chemicals  used  were 
in  the  right  proportions),  is  run  off  by  opening  or  pulling  out 
the  plugs  above  the  colour.  The  plug  is  then  replaced  and  more 
water  is  run  in  and  well  agitated  by  means  of  a wooden 
agitator,  then  allowed  to  settle,  and  the  top  water  run  off  and 
the  washing  again  repeated,  when  it  is,  after  again  settling  and 
the  top  water  run  off,  ready  for  the  filtering  process,  which  is 
carried  out  by  having  the  frame  brought  near  to  the  vat.  A 
filter-cloth  is  spread  over  it,  and  the  colour  is  placed  thereon  to 
drain  away  as  much  water  as  possible ; filter-cloths  are  then 
brought,  and  the  colour  being  placed  in  them,  they  are  put 
under  the  hydraulic  press  and  the  moisture  is  expelled.  The 
colour  is  now  moulded  into  rounded  shapes  or  cakes,  and  news- 
papers are  placed  on  the  lattice-made  tray,  and  the  colours 
are  placed  thereon  and  taken  into  the  drying-room,  where 
the  temperature  should  not  exceed  70°  to  80°  F.  The  student 
having  tried  his  hot  and  cold  solutions  will  have  learnt  why 
the  heat  should  not  be  too  high. 

When  the  chrome  is  dry,  it  is  packed  into  store  casks  and 
sent  out  in  the  moulded  “ cake  ” form,  or  if  wanted  in  powder 
is  placed  under  the  edge-runner  mill,  afterwards  sifted  finely, 
and  is  ready. 

These  chromes  are  very  often  struck  on  to  bases,  such  as 
white  lead,  whiting,  and  barytes,  and  other  mixtures,  which 
cheapen  them.  The  plan  is  to  place  this  mixture  into  the  vat 
and  well  mix  it  together  with  water.  Then  the  solutions  being 
ready  in  the  barrels,  are  run  into  the  mixture  and  well 
agitated.  The  colour  is  allowed  to  settle  and  the  top  water 
run  off.  More  water  is  added  to  wash  it  well,  and  afterwards 


8 


Paints,  Colours,  Oils,  and  Varnishes 


drained  off  again,  filtered,  and  dried.  The  colour  is  sold  in  the 
moulded  and  powdered  form. 

Middle  Chrome.  — Our  next  colour  to  make  is  middle 
chrome,  which  is  made  in  the  plant  as  used  by  making  the 
lemon,  keeping  to  the  same  barrel  for  dissolving  the  chemicals. 
Weigh  up — 

Bichromate  potash  . . . . . 60  lb. 

Soda  crystals  . . . . . ' l 100 

Common  washing  soda  . . . . j ” 

Place  this  in  barrel  A,  add  20  gallons  of  water,  admit  the 
steam  gently  to  dissolve  this.  When  dissolved  turn  off  the 
steam  and  allow  it  to  cool,  then  weigh — - 

Lead  acetate  or  sugar  of  lead  . . . 200  lb. 

and  put  into  barrel  B,  and  add  20  gallons  of  water.  Admit 
the  steam  to  dissolve,  and  when  dissolved  turn  off  steam 
and  also  allow  this  to  cool.  When  both  are  about  the  same 
temperature,  open  both  taps  or  plugs  together  and  the  solution 
running  into  the  vat  results  in  the  chrome  yielding  a middle 
shade  of  chrome.  This  undergoes  the  same  finishing  processes 
with  several  washings  with  clean  water  as  the  lemon,  and  is 
sold  in  the  moulded  or  powdered  form. 

All  these  chromes  can  be  made  paler  or  deeper  in  shade  by 
lessening  the  amount  of  bichromate  of  potash  and  increasing 
the  proportions  of  soda  crystals,  and  by  increasing  for  deep 
shades  the  former  and  lessening  the  latter  the  shades  can  be 
obtained  as  desired.  Various  recipes  for  chrome-making  are 
published  which  are  interesting  to  the  student  as  becomes 
advanced,  and  if  any  thoughts  should  suggest  themselves  try 
them,  noting  each  result,  for  by  that  means  new  modes  of  manu- 
facture are  introduced  which  may  cost  less  than  hitherto. 

Orange  Chrome. — The  next  colour  to  make  is  orange  or 
deep  chrome,  and  this  requires  nothing  very  expensive  in  the 
way  of  plant  to  produce.  It  can  either  be  made  in  a steam 
jacketed  pan,  or  in  a strong  spirit  puncheon  cut  in  half,  or  the 


The  Making  of  Chromes 


9 


regular  made  vats,  but  the  usual  form  in  use  is  the  same  as 
sketched. 


Fig.  2. 


A is  a steam  pipe  connected  with  a steam  boiler ; B is  the 
vat  capable  of  holding  batches  of  colour  to  be  made,  5 cwts.  at 
a time ; C is  the  stirrer  or  agitator  to  keep  the  contents  well 
stirred  during  the  making.  Weigh  up — 

Litharge  . . . . . 120  lb. 

Dry  white  lead  . . . . . 120  ,, 

Add  sufficient  water  to  make  into  a paste,  pass  through  a roller 
mill  to  break  up  the  lumps,  etc.  This  produces  a nice  smooth 
paste,  which  is  transferred  to  the  vat  and  made,  by  adding  water, 
to  a thin  cream-like  consistency.  The  steam  is  gently  admitted 
to  heat  this,  then  30  lb.  of  bichromate  of  potash  is  weighed  and 
put  in  with  the  lead  and  litharge  and  well  stirred.  The  heat 
is  then  increased  and  the  whole  well  heated,  and  when  near 
boiling,  7 lb.  of  caustic  potash  or  soda  is  dissolved  in  water 
(about  2 gallons)  and  slowly  run  in  to  the  mixture  and  the 
boiling  and  stirring  continued,  till  the  shade  required  is 


io  Paints,  Colours,  Oils,  and  Varnishes 


obtained,  the  steam  is  now  turned  off  and  the  colour  allowed  to 
stand  to  cool.  It  is  afterwards  washed  with  water  and  placed 
in  filter-cloths  under  the  hydraulic  press,  moulded  into  shape, 
and  placed  in  the  drying-room.  This  colour  is  also  produced  in 
various  other  ways  by  using  other  bases,  but  this  recipe  will 
give  an  orange  chrome  if  carried  out  to  the  proportions ; and  if 
gently  boiled  at  first  and  a sample  taken  out,  and  the  boiling 
further  prolonged,  the  shades  will  become  deeper. 

The  proportions  of  litharge  and  white  lead  may  be  altered 
for  experimental  work,  and  the  result  noted ; also  other  bases 
may  be  tried  which  suggest  themselves  to  the  student. 

Zinc  Chrome. — These  chromes  are  made  in  the  plant  used 
for  the  orange  chrome-making.  Various  methods  are  in  use  to 
obtain  this  colour,  but  the  following  recipe  will  bring  about  the 
shade,  if  carried  out  according  to  instruction  : — Weigh  224  lb. 
dry  zinc  oxide,  make  into  a paste  with  water  and  pass  through 
roller  mills,  and  transfer  to  a vat  as  used  in  orange  chrome- 
making. Add  more  water  to  make  into  a thin  paste,  and  place 
25  to  30  lb.  of  bichromate  of  potash  into  this,  and  boil  by 
steam  heat  till  the  shade  is  obtained.  The  steam  is  now  turned 
off,  and  the  top  water  will  be  found  to  be  coloured  by  the  bi- 
chromate being  in  excess ; this  is  not  thrown  away,  but  care- 
fully put  aside.  By  adding  soda  crystals  to  it  and  dissolving 
sugar  of  lead,  as  in  lemon  or  middle  chrome-making,  we  can 
produce  a chrome  which  can  be  used  in  making  Brunswick 
green,  and  the  cost  does  not'  work  out  quite  so  much  as  if  we 
allowed  the  bichrome  waters  to  run  down  the  drain. 

These  zinc  chromes  will  be  found  to  be  very  gritty  to  the 
feel,  but  this  cannot  well  be  avoided.  The  zinc  chrome  is  now 
pressed  under  the  hydraulic  press,  dried,  and  afterwards 
powdered  finely,  now  being  ready  for  use. 

These  chromes  are  much  used  to  obtain  the  various  shades 
or  tints  in  dry  and  ground,  distempers,  because  lead  chromates 
will  not  do,  on  account  of  the  alkaline  nature  of  the  base  of 


The  Making  of  Chromes 


i i 


these  distempers,  which  seem  to  deepen  the  shades  somewhat, 
whereas  the  zinc  chrome  undergoes  no  change.  Therefore,  in 
using  alkaline  bases,  remember  these  chromes  are  best  for  tinting 
purposes. 

I have  made  use  of  the  various  names  of  mills  used  for 
grinding  the  chromes,  and  think  it  best  to  give  a description  of 
them  before  we  go  any  farther. 

The  first  mill,  then,  is  the  edge-runner  ; this  mill  is  composed 


Fig.  3. — Edge-runner  Mill. 


of  a pair  of  heavy  wheels  or  runners  made  of  chilled  steel  or 
hard  Barr  stone.  The  bed  in  which  they  revolve  is  composed 
of  one  or  the  other,  scrapers  being  attached  to  each  wheel  or 
runner  to  keep  the  colour  from  collecting  on  the  surface,  and 
a guide  is  attached  before  each  runner  to  regulate  the  dry 
colours,  etc.,  being  ground.  In  the  bed  of  pan  a sliding  door  or 
aperture  is  made,  so  that  by  turning  a screw  this  opens,  and  the 


i2  Paints,  Colours,  Oils,  and  Varnishes 


dry  colour  is  pushed  over  the  open  space  and  falls  into  casks  or 
other  receptacle. 

This  mill  is  mostly  used  by  colour  manufacturers  to  powder 
colours  made  in  the  colour  shop,  also  burnt  and  raw  ambers, 
etc.  The  best  way  for  cleaning  these  off  is  to  use  dry  powdered 
whiting  and  brush  it  out  with  the  aid  of  brushes,  the  coloured 
whiting  being  used  in  the  various  coloured  paints  the  nearest 
tint  to  it. 

The  roller  mill  is  the  one  principally  used  in  all  colour- 
grinding firms.  There  are  two  sorts,  one  having  the  lateral 
motion,  which  works  on  a “cam,”  that  is,  an  eccentric  groove  is 
cut  and  a fixed  arm  arrangement  causes  the  roller,  which  is  the 
centre  one,  when  working,  to  revolve 
from  side  to  side.  This  is  to  ensure 
fine  grinding;  the  other  form  has  the 
rollers  fixed,  having  no  “cam”  action. 
The  “cam”  action  mills  are  the  best, 
as  they  grind  and  rub  the  material. 
The  rollers  back  and  front  have 
strong  spring  coils  between  the  centre 
„ , _ roller  and  themselves,  and  the  centre 

roller  is  fixed,  so  that  by  regulating 
the  set  screws  back  and  front  the  roller  is  pressed  to  the  centre 
one,  and  pressure  to  any  degree  is  obtained.  The  centre  roller 
spindle  is  made  to  hold  the  driving,  called  the  fast,  pulley,  and 
also  the  loose  one.  The  latter  is  made  so  that  the  mill  may  be 
stopped,  and  the  driving  band,  being  on  the  loose  pulley, 
revolves ; the  driving  band  passes  through  what  is  called  a 
striking  gear,  which  by  pressure  is  brought  over  to  the  fast  or 
loose  pulley,  and  keeps  the  band  from  running  in  the  opposite 
direction.  These  mills  have  wooden  guides  or  hoppers  in  which 
to  put  the  paste  colours  when  undergoing  the  grinding  process. 
They  prevent  the  paint,  etc.,  from  passing  to  the  edges  of  the 
mills  on  to  the  floor  and  thereby  causing  waste. 


The  Making  of  Chromes 


13 


The  rollers  are  usually  made  of  granite  stone  turned.  Those 
used  for  printing  inks  are  made  of  chilled  steel  rolls,  having 
gun-metal  hoppers  or  guides.  The  weight  of  them  varies,  but 
the  smallest  perhaps  would  weigh  1 cwt.  each,  and  the  larger 
size  about  2J  cwts.  each.  The  speed  varies  in  each  roller.  It 
is  regulated  by  various-sized  cog  or  spur  wheels.  The  front 
roller  has  the  knife  or  scraper  attached,  which,  on  revolving, 
carries  the  colour  being  ground  to  its  edge,  and  so  causes  it  to 
collect,  from  whence  it  is  taken  off  by  a trowel  and  knife  by 
the  grinder  and  put  into  kegs  or  casks.  The  rollers  require 
careful  attention  for  regulating  them  for  grinding  purposes, 
because  if  “ set  up  ” one  side  more  than  the  other  they  become 
tapered,  and  will  not  do  the  work  so  finely. 


Fig.  5.-  Paint-mixing  or  Pug  Mill  (old  style). 


The  next  mill  of  importance  is  the  pug  or  mixer.  There  are 
two  sorts  in  use — the  vertical  (old  style)  and  the  horizontal 


14  Paints,  Colours,  Oils,  and  Varnishes 

(new  style).  The  writer  has  worked  both,  hut  the  new  style  is 
better  and  cleaner,  the  work  being  done  in  half  the  time  of  the 
old  method,  especially  if  tinting  up  stone  or  drabs,  etc.  The 

tints  are  more  readily  worked  out 
and  obtained  than  by  continually 
being  turned  oyer  by  hand,  entailing 
more  labour  and  time  than  necessary. 
If  the  new  style  was  universally 
adopted,  it  would  pay  for  itself  in 
a very  short  time  by  its  quicker 
output. 

The  sketches  show  these  pug 
mills,  the  old  and  new,  and  by 
■ carefully  considering  the  best  will,  I think,  suggest  itself  to  the 
reader’s  mind,  as  the  knives  in  the  new  style,  when  revolv- 
ing, are  arranged  to  touch  the  sides  of  the  pug  mill,  and  no 
spaces  are  left  untouched,  as  in  the  old  method. 


Fig.  6. — Horizontal  Mixer 
(new  style). 


SECTION  III. 


The  Making  of  Chinese,  Prussian,  and  other 
Blue  Pigments. 

THE  plant  which  is  necessary  is  exactly  the  same  as  that 
used  in  making  chromes  previously  described,  but  the 
barrels  and  vats  are  only  employed  in  their  several  depart- 
ments. For  instance,  chrome  plants  are  only  used  for  that 
pigment,  but  the  plants  used  for  blues  can  be  used  again  for  the 
making  of  “greens,”  such  as  pale,  middle,  and  deep  Brunswick, 
because  they  are  very  powerful  stainers,  and  could  not  be  used 
again  for  any  other  colour  but  blues  and  greens. 

Two  empty  turpentine  barrels  are  coopered  and  strengthened 
by  iron  hoops,  etc.,  as  previously  described,  and  in  the  first 
barrel  we  carefully  weigh  up  100  lb.  of  yellow  prussiate  of 
potash  and  add  to  it  20  gallons  of  water,  and  gently  admit  the 
steam  to  dissolve  it.  Into  the  second  barrel  we  place  100  lb. 
green  copperas  or  ferreous  sulphate  and  20  gallons  of  water,  and 
likewise  apply  steam  to  dissolve  it.  When  dissolved  the  green 
copperas  solution  is  run  into  the  vat  D,  and  the  yellow  prussiate 
is  run  in  on  to  it,  the  whole  being  constantly  stirred.  A very 
whitish  mixture  is  produced,  but  by  carefully  and  slowly  adding 
hydrochloric  acid  to  this  mixture  it  suddenly  turns  to  a deep 
blue  tint,  and  the  mixture  is  allowed  to  stand,  as  it  takes  a long 
time  for  the  pigment  to  settle.  The  top  water  is  drained  off 
very  carefully,  and  the  colour  well  washed  with  water  several 
times,  when  the  colour  is  either  put  on  to  filter-cloths  or  in  the 
hydraulic  press,  and  dried  in  the  drying-room. 

15 


1 6 Paints,  Colours,  Oils,  and  Varnishes 


There  are  several  ways  of  making  this  pigment  direct ; one 
is  by  using  equal  parts  of  red  prussiate  of  potash  and  green 
copperas,  dissolving  each  separately  in  water,  and  by  adding 
the  red  prussiate  of  potash  to  the  green  copperas  the  blue  is 
obtained  at  once  without  any  addition  of  acid.  Whenever 
acid  is  admitted  to  bring  about  the  desired  result,  it  is  called 
“ oxidising,”  and  several  oxidising  agents  can  be  used  instead 
of  the  acids. 

If  yellow  prussiate  of  potash  is  dissolved  in  water,  and  green 
copperas  likewise  separately,  and  to  the  yellow  prussiate  solu- 
tion hydrochloric  acid  is  added  carefully  in  small  drops,  and  the 
two  solutions  mixed,  a blue  is  obtained  direct.  The  same 
result  is  brought  about  by  adding  nitric  acid  in  place  of  hydro- 
chloric acid,  and  chlorate  of  j3otash  in  place  of  acids.  So  that 
several  methods  may  suggest  themselves  to  the  students  after 
they  have  been  through  a course  of  chemistry  and  thoroughly 
know  the  chemical  symbol’s  and  equations  and  various  oxidising 
agents. 

The  Chinese  or  bronze  is  the  better-class  blue,  made  by  care- 
fully selecting  the  chemicals  used  and  thoroughly  oxidising  the 
pigment  by  means  of  acids  and  air — that  is,  allowing  it  to 
remain  in  a place  where  plenty  of  air  is  present,  which  puts  a 
finishing  touch  to  the  blue,  and  gives  it  its  fire  or  bronzy 
appearance. 

The  solutions  prepared,  as  described  above,  can  he  run  in  on 
to  bases  such  as  barytes,  whiting,  etc.,  and  the  shades  become 
somewhat  paler  and  not  quite  so  fine  a blue  as  those  prepared 
without  them. 

These  blue  pigments  are  very  fine  and  strong  in  colouring 
matter,  and  are  much  sought  after  by  all  persons  interested  in 
decorative  art,  and,  being  mixed  with  white  pigments,  produce 
very  pale  shades  of  blue  to  deep  shades.  With  the  addition  of 
pale  chromes  in  small  quantities  these  shades  can  be  turned  to 
a greenish  blue  tint  much  used  in  enamel  tints,  etc.,  and  no 


Chinese,  Prussian,  and  other  Blue  Pigments  17 


other  pigment  will  produce  these  beautiful  tints  hut  Chinese  or 
Prussian  blues. 


The  Making  of  Pale,  Middle,  and  Deep  Brunswick 
Greens  by  Dry  and  Wet  Methods. 

The  plant  necessary  for  the  making  of  the  above  pigment  is 
the  same  as  that  used  for  Prussian  blue.  A small  batch  of 
Prussian  blue  is  made  and  left  in  the  vat,  and  after  repeated 
washings  the  barrels  used  in  blue-making  are  taken  down  and 
the  chrome-dissolving  barrels,  A and  B,  put  in  their  place.  The 
blue  vat  is  also  removed,  and  the  vat  used  for  chromes  sub- 
stituted ; a batch  of  pale  chrome  is  prepared,  and  after  repeated 
washings  with  clean  water  the  pulp  chrome  is  carried  in  wooden 
buckets  to  the  pulp  Prussian  blue  and  well  stirred  in,  the 
chrome  being  added  to  the  blue  until  the  desired  shade  is 
obtained. 

The  way  this  is  brought  about  is,  that  of  every  colour  made 
by  these  methods,  and  by  weight,  the  resulting  pigments 
after  being  dried  are  weighed.  This  weight  is  very  carefully 
recorded,  so  that  every  batch  of  colour  made  gives  a certain 
yield  or  total  product,  and  by  taking  a known  weight  of  this 
pulp  colour  and  blending  them  together  gives  a certain  shade, 
which  is  nearly  always  produced  at  every  make.  So  that,  if 
every  1 lb.  of  pulp  Prussian  blue  requires  10  to  12  lb.  of  pale 
chrome  to  make  a light  Brunswick  green,  only  the  required 
amount  of  blue  and  pale  chromes  are  made  to  produce  these 
shades.  This  is  done  in  the  middle  and  deep  shades,  Prussian 
blue  being  increased  to  produce  them. 

The  colours  having  previously  been  well  washed  before  being 
mixed  together,  require  only  to  be  put  on  to  a filter-cloth,  or  in 
the  hydraulic  press,  and  as  much  free  water  pressed  out  as 
possible.  It  is  then  dried  and  afterwards  well  powdered  under 
edge-runner  mills,  which  must  be  clean  for  the  purpose. 


1 8 Paints,  Colours,  Oils,  and  Varnishes 


The  dry  method  i£,  by  taking  dry  powdered  Prussian  blue 
and  using  pale  chrome.  These  are  well  ground  together  under 
edge-runner  mills,  the  proportions  of  each  varying  according  to 
the  test  required.  The  student  is  advised  to  take  10  grains  of 
Prussian  blue  and  30  grains  of  pale  chrome,  and  mix  them  well 
together  and  note  result.  Should  the  shade  he  too  pale  or  deep, 
he  can  easily  add  more  of  one  or  the  other  to  produce  the  tint 
he  may  require. 

The  edge-runner  form  serves  to  save  much  time  in  the  several 
washings  of  each  make  of  blue  and  chrome,  and  though  the 
results  are  often  not  quite  so  rich  and  bright  in  tint,  yet  the 
dry  colour  of  each  is  stored  for  their  respective  purposes,  and 
can  be  added  together  in  the  dry  state  and  made  into  their 
various  shades  as  above,  which  may  appeal  to  many  as  being 
much  simpler  than  the  “ wet  ” method. 


SECTION  IV. 


Greens. 


THE  MAKING  OF  EMERALD  GREEN  AND  ITS  SUBSTITUTES. 

HIS  is  a very  hard  and  difficult  green  to  make  successfully 


by  the  ordinary  student,  hut  if  carefully  carried  out, 
according  to  the  instructions,  it  can  be  made  by  him.  Not 
every  colour  manufacturer  cares  to  make  this  green,  on  account 
of  its  unreliability  to  turn  out  satisfactorily,  though  it  is  still 
on  the  market  and  obtainable ; and  opinions  differ  as  to  its 
being  used  as  a pigment  on  account  of  its  poisonous  nature. 

The  ordinary  plant  as  used  for  the  making  of  chromes,  etc., 
can  be  employed,  but  the  vat  is  made  removable,  so  that  it  can 
be  run  or  drawn  away  easily,  and  generally  small  wheels  are 
fitted  to  the  bottom  of  the  vat  for  this  purpose,  as  this  green 
takes  several  weeks  to  properly  form  or  develop  ; sometimes  it 
will  be  sufficiently  developed  in  a week,  others  seeming  to  take 
longer,  and  then  not  turn  out  satisfactory. 

The  directions  must  be  carefully  followed,  or  the  result  will 
not  come  up  to  the  expectations  of  those  attempting  this  pig- 
ment. In  barrel  A place  40  lb.  calcined  soda  crystals.  To 
obtain  this,  common  washing-soda  is  very  strongly  heated  over 
a fire  in  a suitable  vessel,  which  after  a time  drives  off  all  the 
water  contained  in  it,  and  produces  a very  white  flaky  sub- 
stance. Common  washing-soda  crystals  contain  a large  per- 
centage of  water,  and  the  student  in  calcining  this  should 
carefully  watch  this  experiment.  Forty  lb.  of  finely  powdered 


19 


20  Paints,  Colours,  Oils,  and  Varnishes 


white  arsenic  is  also  placed  with  the  calcined  soda,  and  20 
gallons  of  water  is  also  added,  and  the  whole  heated  till  the 
arsenic  and  soda  has  dissolved,  and  then  kept  at  boiling  point 
till  the  next  40  lb.  of  copper  sulphate  dissolved  in  20  gallons 
of  water  has  likewise  become  a solution  in  the  other  barrel. 
The  boiling  solution  of  copper  sulphate  is  run  into  the  vat,  and 
the  soda  and  arsenic  solution  is  at  once  run  into  the  copper 
sulphate  with  a thorough  stirring.  The  colour  is  allowed  to 
settle  and  the  resulting  shade  watched.  About  one  pint  of 
acetic  acid  is  gradually  stirred  in  till  the  water  slightly  smells 
of  this  acid,  the  vat  is  then  removed  for  the  deep  blue  emerald 
green  shade  to  develop,  which  may  come  in  a few  days. 

It  must  he  remembered  that  too  much  acetic  acid  is  detri- 
mental to  this  colour,  because  the  acid  dissolves  the  precipitate 
and  leaves  only  a blue  coloured  water,  as  the  dry  colour  itself 
is  soluble  in  that  acid,  which  dissolves  it  and  leaves  any  adul- 
terant behind.  If  good  colours  are  wanted,  care  is  absolutely 
necessary  in  their  preparation. 

Several  good  batches  have  been  obtained  by  my  students  by 
this  recipe  and  method ; but  its  poisonous  nature  is  against  its 
extended  use,  though  it  is  still  in  use  for  all  classes  of  decorative 
work. 

The  colour  is  a very  fine  bluish  green,  and  no  other  green 
pigment  compares  with  it  in  colour,  only  those  made  of  aniline 
dye  stuffs,  which  are  introduced  to  take  its  place,  really  approach 
it.  Good  substitutes  can  be  made  by  taking  zinc  oxide  and 
tinting  this  with  fine  Prussian  blue,  and  shading  carefully  with 
zinc  chrome,  but  no  substitute  compares  with  pure  emerald 
green.  Only  those  greens  recently  produced  by  aniline  dye 
chemists  can  be  considered  satisfactory  substitutes  for  these 
greens,  which  are  somewhat  too  advanced  to  make  explanations 
clear  for  the  student’s  guidance.  A good  substitute,  however, 
will  be  found  under  the  heading  of  “ Colours  made  by  Aniline 
Dye  Stuffs  ” in  this  work. 


Greens 


21 


BRONZE  GREENS. 

These  pigments  are  generally  made  by  adding  several  pig- 
ments together  to  bring  about  the  shades,  and  the  usual  form 
in  factories  is  to  place  under  an  edge-runner  mill,  ochre, 
umber,  Prussian  blue,  and  middle  chrome,  with  carbon  black 
to  give  it  the  shade.  Barytes  and  whiting  sometimes  form 
the  base.  These  pigments  are  usually  the  standards  adopted 
by  the  firms  making  their  own  shades,  and  can  be  made  in 
various  tints  or  shades  by  increasing  or  lessening  the  various 
pigments  producing  them,  so  that  it  will  be  unnecessary  to 
give  any  particular  shade,  when  the  student,  by  using  these 
colours,  can  produce  his  own  particular  shade  by  weighing  up 
his  own  proportions  and  keeping  note  of  the  same. 

The  favourite  shade  is  generally  made  by  middle  chrome, 
burnt  umber,  and  carbon  black  to  tint.  The  other  shades,  by 
additions  of  blue  and  carbon  black, — remembering  that  colours 
or  shades  made  by  carbon  blacks  to  tint, — always  produce  darker 
shades  on  drying  in  oil,  etc.,  so  that  allowance  must  be  made 
for  this. 

The  following  recipes  are  for  the  student’s  guidance  in 
obtaining  the  light,  middle,  and  dark  bronze  greens.  They  can 
be  altered  at  their  discretion  by  lessening  the  proportions : — 

Light  Bronze  Green. 

84  lb.  middle  Brunswick  green. 

38  ,,  golden  ochre. 

20  ,,  burnt  Turkey  umber. 

1 ,,  lemon  chrome. 

Middle  Bronze  Green. 

112  lb.  middle  Brunswick  green. 

30  „ burnt  Turkey  umber. 

2 ,,  Prussian  blue. 

\ „ carbon  black. 


22  Paints,  Colours,  Oils,  and  Varnishes 


Dark  Bronze  Green. 

140  lb.  dark  Brunswick  green. 

40  ,,  burnt  Turkey  umber, 
j ,,  carbon  black. 

These  are  dry  colours  placed  under  the  edge-runner  mills, 
and  can  be  made  to  any  shade  by  adding  lemon  chromes,  etc. 
It  is  very  necessary  for  the  student  to  have  a shade  of  bronze 
to  work  or  shade  to,  as  it  is  very  helpful  to  obtain  correct 
shades. 

Olive  green  is  several  shades  darker  than  bronze  green, 
though  middle  shade  bronze  is  often  sent  for  that  shade. 
Quaker  green  is  rather  bluer  in  tint  than  bronze  green,  but 
made  on  the  same  principle  as  those  pigments,  but  blue  is 
added  more  freely  to  produce  this  blue  tint. 

Myrtle  green  is  of  a dark  Brunswick  green  shade,  and  if 
lemon  chrome  and  Prussian  blue  are  added  together  carefully 
by  weight,  and  tinted  with  a little  carbon  black,  this  will  pro- 
duce the  shade  of  the  myrtle  it  is  named  after. 

Various  shades  can  be  produced  by  blending  pigments  to- 
gether in  the  dry  state ; and  the  student  is  advised  to  cultivate 
this  shading,  etc.,  as  it  affords  very  interesting  study  to  know 
what  tints,  etc.,  can  be  produced  by  adding  the  several  pig- 
ments together  to  bring  about  other  shades,  which  cannot  be 
so  obtained  by  any  pigment  by  itself — and  it  is  by  this  system 
of  adding  pigments  together  that  the  large  amount  of  tints 
come  to  be  employed  in  painting. 

MALACHITE  GREEN. 

This  beautiful  natural  green  pigment  can  be  seen  at  the 
Geological  Museum,  Jermyn  Street,  W.,  where  several  fine 
specimens  can  be  inspected.  Its  colour  varies  from  a very 
pale  emerald  to  a dark  green,  and  its  chemical  composition  is  the 
basic  carbonate  of  copper.  It  is  very  doubtful  if  it  is  now  used 


Blue 


23 


as  a green  pigment  for  the  painter’s  use.  If  it  is  so  used,  it  is 
simply  ground  under  edge-runner  mills  and  reduced  to  powder, 
then  finely  levigated  and  dried.  Its  place  is  now  largely  taken 
by  the  Brunswick  greens,  or  by  taking  Prussian  blue  and 
mixing  with  lemon  chrome  to  the  shade  as  near  the  natural  as 
possible. 


Blue. 

ULTRAMARINE  BLUE. 

There  are  two  varieties,  one  is  the  natural  and  the  other  the 
artificial,  which  is  made  in  England  and  Germany. 

The  natural  occurs  as  the  Lapis  lazuli , a good  specimen  of 
which  is  to  he  seen  at  the  Geological  Museum.  It  costs  five 
guineas  per  ounce ; it  can  also  he  seen  in  streaks  with  other 
natural  objects  in  other  cases,  but  not  being  found  in  large 
quantities,  its  place  is  now  taken  by  the  artificial  blue,  which 
we  are  all  so  familiar  with  in  the  factory.  The  natural  blue, 
however,  when  found,  is  well  washed  in  water  and  mostly  used 
for  inlaid  work  for  objects  of  art ; but  should  it  be  required  for 
use  as  a pigment  it  is  broken  up,  then  well  ground,  and  levi- 
gated, dried,  and  is  ready. 

The  artificial  blue  is  made  in  specially  constructed  furnaces. 
By  mixing  various  compounds  together,  such  as  coal,  soda, 
rosin,  sulphur,  and  china-clay  in  various  proportions,  and  sub- 
jecting this  to  heat  in  crucibles,  we  can  tell  by  experience 
when  the  heat  is  sufficient.  The  heat  is  stopped  and  the 
furnace  allowed  to  get  quite  cold,  when  the  contents  of 
crucibles  are  emptied  into  water  and  thoroughly  agitated  to 
wash  the  roasted  mass ; it  is  then  transferred  to  edge-runner 
mills  and  well  ground,  afterwards  dried,  then  again  subjected 
to  being  heated  with  sulphur,  which  imparts  to  it  the  finished 
blue  as  we  know  it.  The  furnace  is  allowed  to  cool,  and  the 
blue  is  thoroughly  levigated,  dried,  and  powdered  and  packed 


24  Paints,  Colours,  Oils,  and  Varnishes 


into  14-  and  28-lb.  boxes,  and  branded  according  to  its 
quality. 

This  gives  a simple  but  clear  idea  of  how  these  blue  pigments 
are  obtained,  and  further  details  can  be  obtained  by  reading 
more  advanced  works  on  this  subject. 


SECTION  V. 


Earth  Colours  or  Pigments. 

PIGMENTS  which  are  obtained  from  the  earth  and  possess 
staining  powers,  that  is,  imparting  a colour  or  stain  to 
white  pigments,  are  called  earth  colours,  because  nature  has, 
through  various  causes,  formed  them,  and  nothing,  except  the 
finishing  off  process,  is  executed  by  mechanical  means  to  render 
them  fit  for  the  painter’s  use. 

These  colours  are  found  in  great  abundance  in  various 
localities  and  countries.  Some  possess,  according  to  the  nature 
of  the  soil  and  other  chemical  features,  greater  and  better  stain- 
giving qualities  than  those  found  in  other  parts  of  the  earth. 
It  is  really,  then,  a question  whether  the  locality  in  which  they 
are  found  is  rich  in  mineral  and  other  matter. 

There  are  various  processes  whereby  these  earth  colours 
undergo  mechanical  means  to  render  them  fit  for  the  various 
purposes  to  which  they  are  put.  The  earth  colour  having  the 
necessary  qualities  to  make  up  into  a good  paint,  is  first  placed 
under  a powerful  edge-runner  mill,  which  reduces  the  lumps  to 
powder ; water  is  added,  and  the  colour  leaves  the  mill  in  the 
form  of  a stiff  paste.  Sometimes,  before  the  colour  is  ground  as 
above,  it  is  sifted  to  separate  stones,  etc.,  it  may  contain,  then 
ground  under  the  mill. 

The  colour  in  the  form  of  a stiff  paste  is  now  transferred 
into  a large  tank  containing  water,  which  communicates  with 
other  tanks  by  means  of  troughs  placed  so  that  they  may 
become  so  connected.  Usually  four  tanks  may  be  so  employed. 

25 


2 6 Paints,  Colours,  Oils,  and  Varnishes 


The  colour  is  well  stirred  in  this  tank,  and  water  is  laid  on  in 
such  a way  that  as  the  water  rises  it  carries  a certain  amount  of 
this  colour  over  into  the  next  tank,  and  so  on,  until  the  last  is 
reached  ; the  water  is  stopped,  and  the  colour  finally  settles.  The 
top  water  is  carefully  drawn  off,  and  the  last  tank  will  contain  the 
finest  and  best,  the  next  best  the  medium,  and  so  on.  They  are 
thoroughly  ground  and  dried  gently,  and  again  well  powdered 
and  sifted  very  finely,  and  sent  out  under  the  various  names  to 
which  they  correspond. 

Various  mills  and  appliances  are  in  use  for  levigating 
colours,  some  are  called  levigating  mills,  and  do  away  with  the 
tanks,  which,  after  all,  causes  a great  deal  of  water  to  be  wasted, 
which  entails,  as  well,  much  labour  and  waste  of  time.  These 
new  mills  levigate  in  half  the  time  taken  in  using  the  tank 
process. 

It  is  unnecessary  to  add  that  these  pigments  should  be 
rendered  as  fine  as  possible,  as  on  them  depends  to  a certain 
extent  whether  they  can  be  ground  fine  enough  to  produce  the 
various  tints  or  shades  used  in  decorative  art,  because  if  grit  is 
present  it  renders  the  paint  unfit  for  use  on  account  of  its 
rough  appearance.  The  more  these  colours  are  ground  the 
greater  the  beauty  and  staining  power  they  impart. 

RAW  SIENNA. 

This  pigment  is  a natural  earth  colour,  and  when  found  to 
warrant  its  grinding,  levigation,  etc.,  by  answering  various  tests, 
such  as  fineness  and  staining  properties,  the  colour  is  ground 
under  the  edge-runner  mills  with  water,  which  forms  a paste, 
this  afterwards  being  transferred  to  the  levigating  tanks,  which 
separates  the  fine  from  the  coarser  qualities,  and  which  by  care 
is  taken  off  the  top  and  dried  gradually,  and  then  again  ground 
very  fine  under  edge-runner  mills  in  the  dry  state,  and  finally 
sifted  to  get  it  as  fine  as  possible  to  be  ready  to  mix  with  oil  to 
make  into  the  ground  raw  sienna.  This  is  chiefly  used  as  a 


Earth  Colours  or  Pigments 


27 


stainer  by  decorators  and  painters,  either  for  paints,  etc.,  or 
being  ground  in  water,  which  is  frequently  the  case,  imparts 
the  various  shades  to  the  distempers  which  may  be  in  use  for 
all  classes  of  work  for  decorative  and  other  purposes.  The 
colour  or  shade  of  this  pigment  is  generally  of  a “ dark 
yellow.” 

BURNT  SIENNA. 

This  is  the  raw  sienna,  which  after  being  rendered  fine,  etc., 
by  grinding  and  levigating,  is  placed  on  large  iron  plates  over 
the  furnace  so  that  heat  may  be  applied  to  them.  As  this  heat 
increases,  the  raw  sienna  will  be  noticed  to  change  colour  to  a 
reddish  tint,  and  after  being  prolonged  for  a lengthened  time, 
and  a sample  taken  out  and  compared  with  the  standard 
shade,  the  colour  is  drawn  off  the  plate  and  another  change 
is  put  on.  So  the  process  is  repeated  until  the  required 
amount  of  “ raw  ” is  converted  into  the  “ burnt  ” sienna.  It  is 
generally  ground  again  under  the  edge-runner  mill  and  packed 
into  casks. 

This  pigment  is  much  sought  after  by  painters  and  de- 
corators as  a stainer,  and  when  mixed  with  refined  linseed  oil 
and  ground  through  the  roller  mills,  forms  a very  rich  reddish 
tint,  and  being  blended  with  white  pigments,  either  white  lead 
or  zinc  oxides,  forms  our  light  or  dark  terra  cottas,  according 
to  the  shade  or  tint  required,  and  the  amount  of  sienna  put  in 
to  produce  the  shade  or  tint. 

The  “raw”  being  obtained  as  a natural  pigment,  and  after- 
wards being  roasted,  we  obtain  two  shades,  which  are  quite 
distinct  in  colour  to  each  other,  so  that  it  is  very  important  that 
care  should  be  exercised  in  their  selection  as  to  their  being  fit 
for  the  decorator’s  use.  The  burnt  is  also  ground  in  water 
very  finely,  and  sold  as  such,  and  is  much  sought  after  for 
producing  the  various  tints  used  in  distemper  work,  etc. 

The  student  having  a piece  of  tin  or  iron  plate  over  a 


28  Paints,  Colours,  Oils,  and  Varnishes 


Bunsen  burner  or  spirit  lamp  may  easily  obtain  this  burnt 
variety  from  the  dry  raw  sienna. 

RAW  TURKEY  UMBER. 

This  pigment  is  also  a natural  earth,  and  is  principally 
found  in  Turkey  and  Cyprus,  but  wherever  found  it  generally 
goes  by  the  above  name. 

This  pigment  when  found  undergoes  the  same  treatment  as 
the  other  earth  colours,  such  as  grinding  under  edge-runner 
mills,  then  levigating,  etc.,  and  drying  at  gentle  heat,  and  again 
placed  under  the  “ edge-runner,”  and  sifted  finely  and  packed  into 
casks,  ready  to  be  mixed  with  raw  linseed  and  ground  through 
roller  mills  to  a very  fine  paste,  which  is  afterwards  sold  as 
a stainer.  This  variety,  however,  is  not  so  much  used  as  the 
burnt,  which  is  much  richer  in  hue  than  the  raw,  and  which, 
together  with  white  pigments,  greens,  the  various  stone  colour 
shades,  and  also  drabs,  by  adding  ochre  to  tint,  and  being  made 
into  ready  mixed  paint,  is  much  used  for  interior  and  exterior 
house  decoration. 


BURNT  TURKEY  UMBER. 

This  pigment  is  the  “raw,”  which  is  placed  on  large  iron 
plates  over  a suitable  furnace,  and  being  gradually  heated  is 
converted  thus  into  the  burnt  variety.  The  “ raw  ” is  finely 
ground  and  levigated  before  being  roasted,  and  when  the  colour 
has  fully  developed  it  is  drawn  off  the  plates,  and  another 
charge  placed  thereon,  as  this  saves  the  heat  being  suddenly 
wasted.  The  umber  when  cool  is  again  ground  under  the 
“edge  runner,”  sifted  finely,  and  packed  into  casks,  ready  for 
grinding  into  the  ground  paste  form  with  raw  linseed  oil 
through  roller  mills  several  times.  It  is  much  used  for  all 
tinting  purposes. 

The  changes  of  these  colours  from  the  raw  to  the  burnt 
is  due  to  the  presence  of  iron  and  other  compounds,  which  on 


Earth  Colours  or  Pigments 


29 


roasting  undergo  various  reactions,  and  finally  result  in  the 
production  of  these  beautiful  pigments.  This  experiment  can 
also  be  tried  by  the  student  on  a tin  or  iron  plate,  and  the 
changes  of  colour  noted. 

OCHRES. 

These  important  pigments  are  also  earth  colours,  and  are 
found  in  various  parts  of  our  own  country,  as  well  as  abroad. 
When  found  to  be  up  to  standard  in  staining  power,  etc.,  they 
are  subjected  to  crushing,  grinding,  levigating,  etc. 

There  are  several  ochres  sold  under  various  names,  according 
to  their  colour  or  shade.  They  are:  “ Oxford,”  “Stone,”  and 
“Italian.”  These  shades  being  the  original  earths,  are  made  to 
these  shades  by  adding  lemon  chromes  to  give  them  the  shade 
required ; they  can  be  also  made  darker  by  adding  raw  sienna, 
etc. 

The  Italian  ochre  is  generally  the  natural  earth  roasted  very 
slightly  to  produce  a dark  tint,  care  being  taken  that  it  is  not 
carried  too  far,  or  the  shade  will  produce  a red  tint.  It  is  also 
made  by  adding  raw  umber  to  the  ochre  to  produce  darker 
tints. 

When  this  ochre  first  undergoes  grinding  and  levigation, 
and  is  not  found  up  to  the  usual  standard  for  ochres  for  staining 
purposes,  it  is  placed  on  iron  plates  and  exposed  to  heat,  which 
causes  it  to  become  red,  owing  to  the  presence  of  the  iron. 
This,  after  grinding,  sifting,  etc.,  is  sold  as  red  ochre,  or 
common  Venetian  red. 

The  ochres  are  greatly  used  *for  all  staining  purposes  to 
produce  tints  or  shades,  much  used  in  decoration,  both  for 
inside  as  well  as  outside  work.  Great  care  is  necessary  in 
grinding  in  oil  to  the  butter-like  consistency  that  they  should  be 
very  finely  ground.  If  care  is  exercised  in  the  first  process  of 
grinding  and  levigation,  the  after-result  is  sure  to  be  satis- 
factory ; but  if  not  properly  done  in  the  first  process,  then  the 


30  Paints,  Colours,  Oils,  and  Varnishes 


colour-grinder  cannot  obtain  the  best  results  of  bis  experience, 
through  grit,  etc.,  not  being  entirely  eliminated  in  the  leviga- 
tion.  This  requires  great  pressure  for  grinding  being  put  on 
the  roller  mills,  causing  extra  cost  for  power,  etc.,  on  the 
engine,  which  could  be  avoided  if  care  was  used  in  these  first 
processes. 


SECTION  VI. 


Brown  and  Black. 


VANDYKE  BROWN. 


HIS  pigment  was  named  after  the  great  painter,  who  was  so 


famous  for  his  pictures  many  years  ago.  It  was  a natural 
pigment,  supposed  to  he  only  known  to  himself ; but  at  the 
present  time  it  is  what  would  he  called  a natural  pigment, 
because  various  colours*  which  are  earth  pigments,  are  ground 
under  an  edge-runner  mill,  and  the  colour  is  produced  as  near 
the  original  as  possible. 

The  mode  of  manufacture  consists  in  placing  under  the 
“ edge-runner  ” raw  and  burnt  umber,  raw  sienna,  and  carbon 
black  to  tint  or  shade  with ; a very  good  imitation  can  be  made 
in  this  way  if  carefully  followed  out,  which  would  approach 
earth  colours  in  name  and  shade,  because  of  being  made  entirely 
of  those  natural  earths. 

It  is  also  produced  by  roasting  twigs,  peat,  etc.,  but  the 
blending  together  of  the  above  earth  colours  is  the  most  likely 
form  used  to  produce  this  pigment.  It  is  not  so  much  sought 
after  as  other  pigments,  such  as  the  ochres  and  umbers,  but 
can  be  ground  in  oil  or  water,  which  after  a time  seems 
to  cake  together  and  become  glue-like,  so  that  it  does  not 
answer  to  keep  much  in  stock  as  a ground  colour  on  this 
account. 

Vandyke  brown  enters,  however,  very  largely  into  the  liquid 
water  stains  sold  as  oak,  walnut,  etc.,  and  by  a boiling  process 


31 


32  Paints,  Colours,  Oils,  and  Varnishes 


the  dye  is  obtained  which  imparts  a staining  power  to  wood  on 
being  applied  to  its  surface. 

The  student  by  trying  to  obtain  this  earth  colour  in  the 
blending  of  raw  and  burnt  umber,  etc.,  should  weigh  out  the 
proportions  of  each  and  put  into  a mortar,  and  by  using  the 
pestle  he  could  mix  them  well  together,  and  by  adding  more  of 
this  or  the  other  obtain  the  shade  which  could  he  noted  down 
for  reference. 

BLACK  PIGMENTS. 

These  pigments  are  very  important  to  the  painter,  and  are 
manufactured  in  various  ways  and  by  simple  processes.  The 
chief  element  in  these  blacks  is  carbon,  to  which  they  owe 
their  origin. 

Carbon  black,  or  gas  black,  as  it  is  also  called,  is  obtained 
from  America  from  natural  gas,  which,  on  being  burnt,  imparts 
to  the  surface  of  plates  which  revolve  over  it  a deposit  of  black 
soot,  which  is  collected  and  forms  the  black  so  much  used  in 
our  paint  factories.  It  is  a very  good  jet  black,  and  being  used 
with  other  bases  forms  the  ground  black  paints  in  oil,  etc.  It 
is  a very  powerful  staining  black,  and  is  the  best  of  all  the  black 
pigments  on  that  account. 

Lamp  and  vegetable  blacks  do  not  possess  the  same  jet  black 
features  as  the  above.  These  give  a brownish  hue  when  rubbed 
out  in  raw  linseed  oil  and  compared  with  carbon  black,  hut  as 
these  blacks  are  used  it  will  be  as  well  to  describe  the  manu- 
facture of  them. 

A large  shed  is  usually  the  place  where  this  is  carried  out.  A 
few  blankets  are  hung  round  the  walls  and  in  the  centre  j then 
oil  is  burned  in  a copper,  which,  being  confined  in  a closed  place, 
gives  off  or  burns  with  a smoky  flame.  This  causes  a deposit 
of  soot  to  form,  which  in  its  travels  settles  on  these  blankets, 
whilst  the  heavy  particles,  which  contain  a certain  amount  of 
unburnt  oil  and  can  be  used  for  common  work,  fall  on  the  floor. 


Brown  and  Black 


33 


Boys  collect  this  black  by  sweeping  the  floor  first,  then  the 
blankets  are  next  treated,  and  this  forms  the  vegetable  variety. 
That  on  the  floor  is  sold  as  lamp  black.  Some  factories  have 
the  floors  of  concrete  and  the  walls  plastered,  which  does  away 
with  the  blankets,  but  the  other  method,  to  my  mind,  is  the 
better,  as  more  black  would  collect  on  a woolly  surface  than  on 
plastered  walls. 

The  vegetable  black  is  sold  in  casks,  weighing  -about  7 lb., 
and  in  packets  from  \ to  1 lb.  The  lamp  black,  which  is 
termed  “loose  lamp  black,”  is  usually  sold  in  packets  from 
2 ozs.  to  1 lb.,  and  also  in  casks.  They  are  generally  kept  in 
a place  specially  constructed  for  them  in  our  factories,  on 
account  of  their  liability  to  instant  combustion. 

T1  lere  are  other  black  pigments  which  also  owe  their  origin 
to  carbon ; they  are  ivory  and  bone  blacks.  These  are  simply 
broken  up  into  very  small  pieces,  enclosed  in  crucibles  with 
loose  fitting  lids  and  placed  into  a furnace.  The  temperature 
is  raised,  which  calcines  the  materials  and  leaves  the  carbon 
behind ; if  bones  were  employed,  then  bone  black  is  the  result. 
It  is  rather  doubtful  if  ivory  is  used  now,  on  account  of  that 
article  becoming  so  scarce  on  the  market.  A good  article,  to 
my  mind,  would  be  bone  black  faced  up  with  gas  or  carbon 
black  and  ground  very  finely,  which  would  answer  the  purpose 
just  as  well  as  ivory.  Ivory  black,  as  a rule,  is  sold  in  the  form 
of  drops,  whilst  the  bone  black  is  sold  in  the  form  of  powder. 


SECTION  VII. 


Beds. 

VERMILION. 

1IHIS  is  obtained  as  the  mineral  cinnabar,  and  a good 
specimen  of  it  can  be  seen  in  the  Geological  Museum  in 
Jermyn  Street,  W.,  together  with  the  artificially  manufactured 
sample. 

Two  methods  can  be  used  to  produce  this  pigment,  one 
called  the  dry  and  the  other  the  wet  process.  It  is  manu- 
factured in  England  and  Germany  and  other  countries.  It  is  a 
mixture  of  mercury  and  sulphur  thoroughly  mixed  together  in 
the  cold  state,  and  afterwards  heated  in  suitable  iron  vessels  in 
furnaces  which  are  built  specially  for  the  purpose  of  manu- 
facturing this  on  a large  scale. 

The  mixture  leaves  the  iron  vessel,  after  the  usual  heating,  in 
a black  mass  called  “black  sulphide  of  mercury,”  which  under- 
goes a further  process  of  heating  to  become  converted  into  the 
red  vermilion  as  we  know  it.  It  is  collected,  well  washed,  and 
dried,  and  is  then  ready  for  grinding  with  oil  for  decorative 
purposes. 

The  wet  method  is  by  using  sulphur  and  mercury  and  mixing 
them  with  water  so  that  they  are  united  into  a paste,  then 
caustic  potash  is  dissolved  and  put  into  this  mixture,  and 
the  whole  subjected  to  heat  till  the  colour  desired  is  obtained ; 
it  is  then  well  washed  in  water  and  dried. 

The  artificial  pigment  appears  to  be  much  brighter  in  apj^ear- 

34 


Reds 


35 


ance  and  colour  than  the  natural,  as  the  specimen  exhibited  at 
the  Museum  mentioned  above  will  show  upon  examination, 
though  the  chemical  formulae  agree  in  both  the  natural  and 
artificial  specimens. 

VENETIAN  RED. 

This  is  a very  common  quality  of  red  oxide,  which  is  made 
by  calcining  or  roasting  common  ochres  on  large  iron  plates  over 
furnaces,  when  they  gradually  change  from  yellow  to  red  owing 
to  the  presence  in  them  of  iron.  When  the  colour  or  shade  is 
obtained,  the  colour  is  drawn  and  another  charge  is  placed  on 
the  plates,  and  so  the  process  is  continued.  The  first  hatch 
made  after  cooling  is  placed  under  the  edge-runner  mill  and 
well  ground,  and  afterwards  packed  into  casks  ready  for  manu- 
facturing into  the  ground  form. 

Some  ochres,  on  being  subjected  to  this  heating,  give  very 
good  bright  staining  pigments,  and  are  often  sold  as  oxides 
on  account  of  their  staining  properties ; they  are  often  made  by 
adding  a powerful  red  oxide  in  so  many  parts  to  barytes  and 
whiting;  and  the  mixture  being  well  ground  under  edge- 
runner  mills. 

RED  OXIDES. 

These  pigments,  which  are  generally  good  bright  colours  and 
possess  good  staining  powers,  are  obtained  both  naturally  and 
artificially.  The  natural  is  generally  roasted  to  bring  out  the 
colour  or  develop  it  more  thoroughly,  which  causes  it  to  possess, 
on  further  heating,  the  various  shades  which  are  sold  as  red 
oxides,  Indian  red,  purple  brown,  etc. ; it  is  due  to  this 
further  heating  at  various  temperatures  that  these  shades 
are  so  obtained. 

Red  oxides  can  be  made  by  roasting  green  copperous  or 
ferrous  sulphate  on  large  iron  plates  over  special  furnaces, 
which  are  made  so  that  the  gases  given  off  are  collected  into 


36  Paints,  Colours,  Oils,  and  Varnishes 


suitable  chambers,  which  contain  water,  and  thereby  condensed, 
which  results  in  the  manufacture  of  sulphuric  acid.  This 
simple  result  may  be  easily  obtained  by  the  student  later 
when  more  advanced  in  chemical  knowledge,  as  the  chemical 
formula  is  very  simple. 

These  pigments  are  very  important  and  much  used,  for,  after 
grinding  in  raw  linseed  oil  and  thinning  out  with  boiled  oil, 
etc.,  they  form  the  best  paint  for  painting  all  iron  work,  such  as 
iron  bridges,  etc. 

The  student,  by  obtaining  ferrous  sulphate  (green  copperas) 
and  heating  on  an  iron  plate  over  a Bunsen  burner,  can  obtain 
various  shades  by  heating  at  varying  temperatures ; the  first 
will  be  a light  red,  then  it  will  gradually  pass  into  the  middle, 
and  finally  dark  purple  shades  will  be  obtained. 

VERMILIONETTES. 

The  plant  which  is  necessary  for  making  the  above  fine- 
looking  colours  is  very  simple.  It  only  requires  a good  sound 
turpentine  barrel  to  be  cut  in  half  and  well  strengthened  with 
additional  iron  hoops,  and  the  plant  is  ready  for  making 
vermilionette. 

There  are,  however,  various  qualities  on  the  market  which 
are  made  according  to  price,  so  that  we  will  manufacture  a 
cheap  and  a good  article,  which  will  illustrate  the  process 
and  answer  our  purpose  very  well. 

W eigh  up  112  lb.  barytes,  and  place  this  in  the  tub ; add 
water  to  make  into  a paste ; then  weigh  4 lb.  of  blue  shade 
eosin,  and  dissolve  this  separately  in  water  by  heat;  pour 
this  into  the  barytes  and  stir  well  to  thoroughly  incorporate 
into  the  barytes  (called  the  base),  blow  dissolve  by  heat  10 
lb.  sugar  of  lead  and  10  lb.  litharge  in  water,  and  when 
dissolved  add  in  small  quantities  at  a time  to  the  tub  con- 
taining the  barytes  and  eosin,  and  stir  well.  Then  add  more 
sugar  of  lead  and  litharge  solution  (called  the  basic  acetate 


Reds 


37 


solution)  until  the  coloured  water  becomes  clear  of  any 
colouration.  When  this  is  attained,  the  colour  is  made  and 
ready  for  filtering;  the  top  water  is  carefully  drained  away 
and  the  pulp  colour  thrown  on  to  the  filter-cloth  and 
afterwards  dried  carefully  at  gentle  heat.  It  is  then  .gently 
rubbed  through  fine  sieves,  and  is  ready  for  mixing  with 
raw  linseed  oil  for  grinding  into  the  ground  colour  form. 

Better-class  vermilionettes  are  made  by  taking  or  weighing 
112  lb.  barytes  and  112  lb.  read  lead  and  placing  these  in  the 
tub  and  making  them  into  a paste  with  water.  Then  dissolve 
8 lb.  blue  shade  eosin  in  water  separately,  add  this  to  the 
barytes  and  red  lead  and  stir  thoroughly  well.  Then  dissolve 
15  lb.  of  sugar  of  lead  and  15  lb.  of  litharge  in  water  by 
heat,  add  a little  at  a time  to  the  contents  of  the  tub,  still 
stirring  well  until  all  the  colour  contained  in  water  in  tub 
is  precipitated  on  to  the  base.  When  the  top  water  is  clear, 
the  operation  is  over ; the  top  water  is  drained  off  and  the 
pulp  colour  is  thrown  on  to  the  filter-cloth  and  afterwards 
dried  at  a gentle  heat.  This  forms  a good  article,  and  possesses 
good  body  or  covering  power.  The  bases  can  be  altered  to 
other  substitutes. 

The  eosins  can  also  be  obtained  in  the  yellow  shade  as  well 
as  the  blue,  and  a different  shade  can  be  made  by  using  equal 
parts  of  these  eosins ; also  other  shades  can  be  obtained  by 
using  various  makers’  aniline  dyes. 

ROYAL  REDS. 

These  pigments  are  somewhat  expensive  to  make,  on  account 
of  being  composed  of  the  best  bases  and  dye  stuffs ; they  are 
prepared  in  the  same  plant  as  is  used  for  making  vermilionettes. 

Weigh  up  112  lb.  of  orange  lead,  and  make  into  a paste  with 
water  in  the  tub;  dissolve  10  lb.  of  eosin  in  water,  and  well 
stir  into  the  orange  lead.  Row  dissolve  15  lb.  sugar  of  lead 
and  15  lb.  of  litharge  in  water  by  heat,  and  slowly  add  this  to 


38  Paints,  Colours,  Oils,  and  Varnishes 


the  contents  of  the  tub  until  the  dye  is  precipitated  on  to  the 
base,  leaving  the  top  waters  clear  from  colouration.  Drain  off 
the  top  water  and  place  the  colour  on  to  the  filter-cloth,  then 
dry  carefully  at  gentle  heat  and  rub  through  fine  sieves,  and 
the  colour  is  ready. 

These  pigments  possess  good  body  or  covering  power,  and  are 
fairly  permanent.  They  go  under  the  names  of  coach  body  red, 
etc.  etc.  The  so-called  fast  reds,  etc.,  on  the  market  are  also 
known  under  the  names  of  “ permanent  reds,”  because  these 
fast  reds  do  not  fade  when  exposed  to  light  as  the  common 
eosins.  The  base  being  orange  lead  tends  to  help  them  to 
retain  their  colour  longer,  making  them  permanent  as  far  as 
it  is  possible  to  do  so. 

Scarlet,  geranium,  etc.,  are  also  made  on  the  principle  of 
royal  reds,  etc.  That  is  by  using  various  dye  stuffs  and  pre- 
cipitating on  to  the  bases,  giving  certain  shades  of  colour  which 
go  under  the  various  names  with  which  we  are  familiar. 
Different  bases  are  used  to  bring  about  these  shades,  so  that 
knowing  the  way  to  manufacture  royal  reds  it  is  a very  simple 
matter  to  make  these  pigments. 


SECTION  VIII. 


Lakes. 

11HESE  beautiful  pigments  so  highly  prized  by  artists  and 
others  engaged  in  decoration,  etc.,  are  produced  from  dye 
woods  which  contain  the  various  dyes.  By  boiling  them  in 
water  the  dye  is  extracted  and  precipitated  on  to  bases  which 
receive  this  dye,  and  so  are  coloured  to  the  various  shades  with 
which  we  are  familiar. 

These,  however,  are  being  superseded  by  the  great  strides 
aniline  dyes  are  making ; so  that  in  course  of  time  these 
substances  will  become  out  of  date,  as  the  aniline  dyes  produce 
better  shades  and  tints  than  these  natural  wood  dyes. 

These  lakes  are  produced  by  boiling  up  cochineal  in  water 
until  all  the  dye  is  extracted ; this  is  then  put  on  one  side  for 
a day  or  two  for  the  colour  to  be  exposed  to  the  air,  after  which 
it  is  strained  through  muslin,  and  alum  dissolved  in  water  is 
added  very  slowly  to  the  coloured  solution.  Then  tin  chloride 
is  likewise  dissolved  in  water  and  a little  added  ; then  carbonate 
of  soda,  also  dissolved  in  water,  is  added  last  of  all,  until  no 
more  precipitate  falls.  The  top  water  is  drained  off  and  well 
washed  with  water,  and  afterwards  dried  very  gently.  This 
yields  the  so-called  carmine, — a difficult  colour  to  make,  and 
made  in  various  ways,  so  that,  practically  speaking,  it  is 
a secret  known  only  to  those  engaged  in  that  branch  of 
lake-making.  A colour  can  be  produced  by  this  method, 
but  it  is  not  so  rich  as  we  sometimes  see  it  from  the  manu- 
facturer. 


40  Paints,  Colours,  Oils,  and  Varnishes 


ROSE  PINK. 

If  we  boil  up  Brazil  wood  chips  in  water  we  obtain  a coloured 
solution ; this  coloured  solution  is  run  in  on  to  a whiting  base, 
the  amount  to  be  determined  by  scale  work,  by  weighing  out 
various  proportions  of  this  base  and  noting  the  depth  of  colour 
obtainable  by  means  of  the  various  amounts  used. 

This  base  and  coloured  solution  are  well  mixed  together  and 
allowed  to  stand  for  several  hours  to  cool ; then  solutions  of 
alum,  tin  chloride,  and  carbonate  of  soda  are  run  in  in  small 
quantities,  the  alum  first,  then  the  chloride,  and  the  carbonate 
of  soda  last,  which  precipitates  the  suspended  colour  in  solution 
on  to  the  whiting.  After  well  stirring  it  is  allowed  to  settle, 
the  top  water  is  run  off,  and  the  colour  well  washed  with  water 
and  dried. 

The  difference  between  the  lakes  made  by  organic  colouring 
matter  and  those  made  by  aniline  dyes  is  soon  determined  by 
taking  the  colour  made  by  above  method  and  those  made  by 
anilines,  and  placing  each  separately  in  a test  tube.  Add 
methylated  spirits  to  each  and  cork  up  tight,  shake  well,  and 
allow  to  stand  some  time.  The  spirit  will  take  up  the  aniline 
and  become  coloured  by  it  ; the  other  will  be  in  the  same 
condition  as  when  first  put  in.  This  is  a very  easy  test  for 
distinguishing  between  the  two. 

YELLOW  LAKE. 

If  quercitron  bark  is  boiled  in  water  a yellowish  coloured 
solution  is  obtained.  A base  of  whiting  is  mixed  into  a paste 
with  some  of  this  coloured  solution,  and  the  whole  of  the 
solution  is  then  run  in  on  to  the  whiting  paste  and  precipitated 
by  adding  carbonate  of  soda.  When  the  colour  is  settled  the 
top  water  is  run  off  and  the  colour  remaining  well  washed  with 
water,  run  off  again,  and  afterwards  filtered  and  dried.  This 
forms  Dutch  pink. 


Lakes 


4i 


This  is  now  being  superseded  by  several  aniline  dyes  blended 
together  to  form  this  Dutch  pink  variety,  and  one  can  scarcely 
determine  it  from  the  above  variety  except  by  the  spirit  test  as 
in  rose  pink. 

These,  then,  show  us  that  colours  made  by  these  dye  woods 
are  true  lakes  ; but  there  is  a great  deal  of  trouble  in  boiling  up 
the  various  woods,  etc.,  whereas  the  other  form  is  simpler 
to  use.  The  dye  is  dissolved  at  once  in  water  and  run  in  on  to 
the  base,  which  is  precipitated  by  the  precipitating  agent,  and 
the  colour  is  struck.  Besides,  a great  variety  of  tints  or  colours 
can  be  produced  by  them. 

COLOURS  MADE  BY  ANILINE  DYE  STUFFS. 

It  is  unnecessary  for  me  to  go  fully  into  this  subject,  as  a 
work  upon  lake-making  is  already  published  by  Messrs.  Scott, 
Greenwood  & Co.,  which  gives  plenty  of  coloured  specimens 
obtainable  from  these  dyes,  and  the  methods  of  precipita- 
tion, etc. 

The  making  of  vermilionette  and  royal  reds  will  give  the 
student  a good  idea  how  the  various  results  are  brought  about. 
The  recipes  placed  here  are  for  illustration  only,  to  show  how 
the  various  coloured  lakes  may  be  made. 

Lemon  Lake. 

Dissolve  1J  ozs.  quinoline  yellow  (soluble  in  water)  in  \ 
gallon  warm  water ; then  dissolve  the  following  separately  : — 

llj:  ozs.  calcined  soda  (common  washing)  in  1 gallon  of  hot 
water ; 

2 lbs.  2 \ ozs.  barium  chloride  in  1 gallon  of  hot  water ; 

1 lb.  ozs.  magnesium  chloride  in  1 gallon  of  hot  water ; 

6f  ozs.  caustic  soda  in  1 gallon  of  hot  water ; 
place  the  dissolved  quinoline  yellow  in  a large  earthenware  pan 
or  clean  wooden  vessel,  then  add  consecutively  with  much 
stirring  1 quart  of  calcined  solution,  1 quart  barium  chloride, 


42  Paints,  Colours,  Oils,  and  Varnishes 


1 pint  magnesium  chloride,  1 pint  caustic  soda  (these  solutions 
must  be  well  stirred  before  being  measured  out).  The  pre- 
cipitate is  allowed  to  stand  for  some  hours,  the  top  water 
drained  off,  and  the  lake  well  washed  with  fresh  water,  allowed 
to  settle,  then  finally  pressed  in  filter-cloths  under  the  hydraulic 
press,  and  dried  at  low  temperature.  This  gives  a very  good 
substitute  for  pale  chromates  of  lead  (lemon  chrome),  but  the 
body  of  this  lake  is  not  equal  to  that  of  the  chromates,  which 
possess  excellent  covering  power. 

Orange  Lake. 

Dissolve  mandarin  G.  extra  in  the  same  proportions  as  for 
making  the  “lemon,”  using  exactly  the  same  proportions  of 
calcined  soda  solution,  etc.,  to  the  above,  when  it  will  result  in 
the  lake  giving  this  orange  coloured  shade ; it  should  be  well 
washed  and  dried  at  low  temperature. 

Red  Lake. 

Dissolve  poucean  G.L.  in  exactly  the  same  proportions  as 
our  first  example,  and  the  result  will  be  a very  nice  crimson 
shade,  or  bright  red. 

Blue  Lake. 

Dissolve  alkali  blue  2 B.  in  exactly  the  same  proportions  as 
the  lemon  lake,  and  the  shade  will  resemble  an  ultramarine 
when  in  the  dry  state. 


Violet  Lake. 

Dissolve  guinea  violet  4 B.  as  in  lemon  lake,  and  a very 
beautiful  violet  lake  is  the  result. 

Substitute  for  emerald  green  in  shade  exactly  like  that 
obtained  from  copper  sulphate,  arsenic,  etc. 

Dissolve  85  per  cent,  guinea  green  B.  and  15  per  cent, 
quinoline  yellow  (soluble  in  water)  and  proceed  as  in  the 


Lakes 


43 


making  of  the  yellow  lake.  The  precipitating  agent  in  these 
cases  will  he  noticed  to  be  different  to  those  precipitated  by 
sugar  or  acetate  of  lead ; but  these  anilines  have  their  own 
particular  precipitating  agent,  which  by  experiments  are  found 
best  adapted  to  their  particular  chemical-hearing  properties  and 
for  giving  the  best  possible  results. 

The  following  recipes  will  be  noticed  to  be  quite  different  to 
any  others  in  this  work,  and  the  precipitating  agent  in  this 
case  is  with  tannin  and  tartar  emetic. 

Dissolve  auramine  ii.,  4 ozs.  in  water.  Make  6 ozs.  of  China 
clay  into  a paste  with  water,  add  the  dissolved  auramine  to  this, 
and  mix  thoroughly  ; then  heat  to  85°  F.  Make  up  a solution 
of  tannin  about  one  pint  to  a 10-per-cent,  strength,  and  add 
about  half  a pint  to  the  China  clay,  etc.,  stirring  well ; then 
dissolve  tartar  emetic  and  make  into  a 5 -per-cent,  solution,  and 
add  gently  to  the  above  until  the  colouring  matter  is  pre- 
cipitated and  well  washed.  This  gives  a lemon  coloured  lake. 

Black  Lake. 

Dissolve  jute  black  B.  extra  as  above,  following  out  all  details, 
when  the  result  will  be  a lake,  which  cannot,  to  my  mind,  beat 
the  carbons  already  in  the  market  for  deep  staining  and  rich 
looking  jet  blacks. 


SECTION  IX. 


Lead  Compounds. 

RED  LEAD. 

THE  manufacture  of  red  lead  is  carried  out  in  furnaces 
specially  built  for  that  purpose,  and  made  so  that  a 
plentiful  supply  of  air  is  obtainable  to  the  manufactured 
article. 

Metallic  lead  is  placed  in  the  furnace  and  melted.  The 
action  of  air  causes  a powder  to  form  on  its  surface  known  as 
massicot,  which  is  carefully  collected  and  afterwards  very  finely 
ground  ready  for  the  next  operation,  which  imparts  to  it  its 
red  colour. 

The  powder  in  this  first  stage  is  yellow  in  shade,  and  is 

placed  in  a furnace  which  is  only  sufficiently  heated  to  bring 

about  the  slight  roasting  to  which  it  is  to  be  subjected ; as, 

should  the  heat  be  too  great,  the  result  is  a failure  as  far  as 

the  red  lead  is  concerned.  A plentiful  supply  of  air  is  most 

essential,  and  the  change  from  yellow  to  red  is  due  to  this 

excess  of  air,  which  is  also  obtained  by  careful  regulation  of  the 

heat  of  the  furnace.  When  the  shade  desired  is  obtained,  the 

red  lead  is  drawn  from  the  furnace  and  another  charge  is 

usually  placed  therein  to  undergo  the  same  treatment. 

Red  lead  is  usually  employed  for  a variety  of  purposes,  such 

as  bases  for  colours  in  vermilionettes ; for  using  in  gas 

fittings  to  make  the  joint  more  secure,  also  for  steam  joints; 

and  it  is  employed  in  first  priming  coat  paint  for  new  wood- 

44 


Lead  Compounds 


45 


work  to  impart  the  pink  colour  generally  adopted,  as  it  causes 
the  paint  to  dry  harder  and  renders  it  a good  ground-work  to 
apply  the  second  and  finishing  coats  upon. 

It  is  used,  too,  as  a drier  in  oil  boiling,  also  in  varnish- 
making, to  increase  their  drying  properties. 

ORANGE  LEAD. 

This  is  manufactured  from  the  dry  carbonate  of  lead  (white 
lead)  in  a similar  furnace  to  that  employed  to  give  the  red  lead 
its  finishing  process.  The  heat  is  carefully  regulated — this  is 
very  important — and  a plentiful  supply  of  air  is  also  essential. 

The  dry  white  lead  is  placed  in  the  furnace,  and  the  air  at 
once  admitted ; by  constantly  being  turned  over,  the  white  lead 
gradually  passes  into  the  red  or  orange  lead,  as  it  is  called. 
It  is  most  generally  used  for  better-class  vermilionettes,  royal 
reds,  lakes,  etc.,  and  gives  very  good  bases  for  these  pigments 
when  it  can  he  employed,  as  it  renders  good  body  or  covering 
power,  which  is  really  the  most  essential  part  or  property  in  all 
pigments  which  are  employed  in  the  painter’s  and  decorator’s 
trade.  It  is  slightly  lighter  in  colour  than  ordinary  red  lead, 
and  is  employed  for  joints,  etc.,  used  in  gas  or  steam. 


SECTION  X. 

White  Pigments. 

OLD  DUTCH  STACK  PROCESS,  OR  CORRODED  WHITE  LEAD. 

THIS  is  carried  out  in  large  sheds,  which  in  some  works  are 
numerous,  on  account  of  the  time  it  takes  to  fully  develop 
this  variety,  which  is  absolutely  the  best  lead  to  be  obtained, 
on  account  of  its  better  body  or  covering  power. 

A very  large  number  of  pots  are  employed,  made  of  earthen- 
ware, resembling  crucibles  in  form,  but  having  inside  a shelf  or 
ledge  whereon  metallic  lead  can  rest  without  falling  to  the 
bottom  of  this  vessel.  At  the  bottom  of  the  vessel  or  pot  a 
little  weak  ascetic  acid  is  placed,  and  a strip  of  lead  is  cut 
(having  been  subjected  to  refining  process  to  free  it  from  other 
impurities),  so  that  it  comes  just  below  the  top  of  the  pot ; on 
the  top  of  this,  gratings  made  of  lead  are  placed,  and  then  the 
pots  are  ready  to  be  stowed  away  in  the  shed. 

The  floor  of  the  shed  is  of  ordinary  brick  or  concrete,  and 
ashes  are  first  placed  as  a layer ; then  on  this  tanner’s  spent 
tan  is  laid,  and  the  pots  are  placed  thereon.  When  the  bottom 
is  laid,  boards  are  laid  on  top  of  the  pots,  and  then  ashes,  etc., 
as  used  on  the  ground  floor  are  adopted  throughout  the  build- 
ing up  of  the  shed.  A ventilator  is  fixed  at  the  top  to  permit 
the  escape  of  steam  and  other  gases  given  off  during  the  process, 
which  usually  takes  about  three  months  to  fully  develoj),  so 
that  it  must  appeal  to  students  that  a large  number  of  sheds 
must  be  employed  to  enable  the  concern  to  pay  for  its  manu- 

46 


White  Pigments 


47 


facture  and  keep  those  employed  in  pulling  down  and  erecting 
fresh  ones.  A very  good  idea  of  this  may  be  gathered  by 
those  looking  in  at  the  Geological  Museum,  where  a case  is  on 
view  showing  the  corroded  white  lead  and  other  matters  con- 
nected with  the  process. 

When  sufficient  time  has  elapsed  for  the  lead  to  have  become 
converted  into  the  white  variety,  the  stack  is  pulled  to  pieces, 
and  the  lead  is  thrown  into  water,  and  afterwards,  whilst  still 
wet,  passed  through  roller  mills,  which  grind  and  flatten  out 
the  unused  metallic  lead  it  may  contain.  This  is  then  sifted 
to  separate  the  powder  from  the  metallic ; the  powder  falling 
through  the  sieve,  whilst  the  metallic  remains  behind,  and  is  put 
on  one  side  for  remelting  for  another  stack.  The  white  lead  is 
well  washed  by  several  changes  of  water  and  then  pressed 
under  hydraulic  presses  and  dried  very  carefully  at  a low 
temperature ; then  again  powdered  under  edge-runner  mills 
and  packed  into  casks,  ready  for  manufacturing  into  the  ground 
white  lead  in  oil. 

The  staff  in  these  works  is  generally  composed  of  both  men 
and  women,  the  latter  being  claimed  to  stand  the  work  better. 
But,  thanks  to  strict  regulations  regarding  the  cleanliness  of 
the  employees,  the  lead  colic  is  now  reduced  to  a minimum ; 
and,  owing  to  the  acidulated  drink  in  use,  which  is  now  more 
generally  adopted,  and  the  doctors’  usual  monthly  inspection, 
cases  are  very  rare  nowadays  of  persons  dying  through  the  in- 
halation of  lead  dust.  If  the  employees  were  careful  to  see  to 
their  own  cleanliness,  half  the  cases  we  hear  of  would  never 
happen,  as  it  is  really  their  own  fault  through  not  taking  the 
necessary  care  or  precautions. 

The  acidulated  drink  is  made  by  boiling  lemons  in  water  to 
extract  the  juice,  then  sweetened  with  loaf  sugar,  and  aromatic 
sulphuric  acid  is  added  to  give  it  a slightly  acid  flavour.  This 
is  given  the  lead  workers  once  or  twice  a day,  and  serves  to 
reduce  the  lead  into  harmless  compounds. 


48  Paints,  Colours,  Oils,  and  Varnishes 


Carbonate  of  lead  can  also  be  made  by  taking  equal  parts  of 
litharge  and  sugar  of  lead  and  dissolving  in  water  by  heat,  then 
passing  in  carbonic  gas,  which,  precipitating,  forms  the  car- 
bonate of  lead ; not  equal,  however,  to  that  obtained  by  the  old 
process. 

SULPHATE  OF  LEAD. 

This  lead  is  claimed  to  be  non-poisonous,  owing  to  the  fact 
that  whenever  a drink  is  administered  to  a person  suffering 
from  lead  colic,  composed  of  sulphuric  acid,  lemon,  sugar,  and 
water,  it  causes  the  carbonate  to  become  converted  into  the 
sulphate  of  lead,  or  non-poisonous  lead,  which  passes  through 
the  system  without  any  evil  effects  being  caused  to  the 
person. 

This  lead  is  prepared  by  using  a plant,  as  in  orange  chrome- 
making, but  the  steam  does  not  come  in  contact  with  the  con- 
tents of  the  tub,  but  a closed  steam  coil  is  fixed  in  the  tub, 
so  that  heat  is  given  off  and  no  steam  is  emitted,  us  it  would 
tend  to  weaken  the  solutions  contained  therein. 

Dissolved  acetate  of  lead  is  treated  with  sulphuric  acid, 
which  precipitates  the  lead  in  solution,  causing  it  to  fall  down 
as  a white  precipitate.  This  is  collected,  washed,  and  dried,  and 
forms  the  sulphate  of  lead;  others  contain  other  white  pigments. 

ZINC  OXIDE. 

This  pigment  is  made  very  simply,  as  the  student  will  know 
when  he  has  mastered  chemistry  sufficiently;  but  for  our  pur- 
pose this  little  illustration  will  suffice. 

Zinc  ingots  are  thrown  into  furnaces,  the  outlets  of  which 
communicate  with  a chamber  having  a plentiful  supply  of  air, 
which  carries  over  the  vapours  from  the  furnace  and  volatilises 
the  zinc  into  vapour,  and  causes  it  to  become  zinc  oxide.  The 
chemical  reaction  is  very  simple,  for  by  burning  strips  of  zinc 
over  a Bunsen  flame  this  white  pigment  is  obtained.  The 


White  Pigments 


49 


furnace  and  adjoining  chambers  are  built  specially  for  the 
reception  of  this  zinc,  which  falls  into  the  several  compartments 
made,  that  farthest  away  from  the  furnace  being  the  best,  and 
sold  as  the  best  quality,  to  become  converted  by  the  paint 
manufacturers  into  ground  zinc  oxide,  or  white  paint.  The 
various  qualities  being  due  to  the  deposit  in  those  chambers  or 
compartments  nearest  the  furnace  not  being  so  good  in  appear- 
ance as  that  farther  away. 


4 


SECTION  XI. 

Barytes  and  Whitening. 

BARYTES. 

BARYTES,  or  barium  sulphate,  is  a compound  well  known  in 
the  paint  trade,  and  is  obtained  both  naturally  and 
artificially ; several  varieties  can  be  seen  in  the  natural  state  in 
the  Geological  Museum,  Jermyn  Street,  W.  It  is  found 
distributed  along  with  other  minerals,  such  as  iron  and  lead. 
The  first  process  is  by  crushing,  then  levigation,  and  afterwards 
treating  with  hydrochloric  acid  to  free  it  from  iron,  etc.  This 
bleaches  it  and  renders  it  a white  pigment,  which  goes  by  the 
name  of  permanent  white,  on  account  of  its  not  being  affected 
by  acids.  It  also  forms  bases  for  paints  and  colours,  being 
useful  for  giving  and  imparting  a neutral  base,  as  it  is  unaffected 
by  any  colour,  and  they  are  unchanged  by  the  use  of  it.  The 
covering  power  of  barytes  is  not  great,  but  if  used  along  with 
white  lead,  it  is  helped  somewhat  to  retain  its  permanency. 

WHITING  OR  WHITENING. 

Powdered  dressed  whiting,  which  is  used  for  the  manufacture 
of  putty,  is  powdered  chalk,  which  abounds  on  the  south  coast 
of  England.  The  chalk  is  quarried  and  thrown  under  “ edge 
runner,”  which  reduces  it  to  powder ; it  is  then  placed  in  the 
levigating  plant  to  free  it  from  sand  and  other  impurities ; then 


Barytes  and  Whitening 


5i 


pressed  to  free  it  from  water,  and  afterwards  dried  at  very- 
gentle  heat.  It  is  then  again  powdered  under  the  edge-runner 
mills  and  put  into  hags  containing  1 cwt.  each,  and  used  for 
putty  - making,  distempers,  and  bases  for  ’paints,  etc.  It 
possesses  but  very  little  body,  yet  more  than  barytes. 


SECTION  XII. 

Painter’s  Oils. 

THE  painter’s  oil  which  is  most  extensively  used  is  raw 
linseed  oil.  It  is  obtained  from  the  flax  plant,  the  seeds 
of  which  are  subjected  to  several  operations,  which  include 
crushing,  grinding,  heating,  pressing,  and  refining.  After  the 
crushing  and  grinding  the  seeds  are  heated  in  a special 
apparatus,  and  afterwards,  whilst  still  hot,  pressed  under  the 
hydraulic  press  in  cloths  or  other  suitable  material.  The 
oil  flows  out  into  vessels  placed  to  receive  it,  and  is  run  into 
a tank  for  impurities  to  settle  out.  The  oil  during  this  time 
is  kept  at  a certain  temperature,  which  causes  it  to  become  more 
quickly  “bright  and  clear.”  When  that  result  is  attained,  it 
is  sent  out  as  raw  linseed  oil. 

To  render  this  of  the  refined  quality  it  is  treated  with 
sulphuric  acid  in  large  tanks  fitted  with  agitators  made  to 
revolve  by  means  of  a band  from  a shaft.  The  acid  is 
calculated  by  the  amount  of  oil  to  be  refined,  usually  about  1 lb. 
of  acid  to  1 cwt.  of  oil, — this  of  course  varies.  It  is  better  to 
add  a little  at  a time  and  watch  the  result  than  to  add  1 lb.  of 
acid  to  every  1 cwt.  of  oil,  as  any  excess  would  certainly 
destroy  and  discolour  the  whole  lot. 

The  action  of  the  sulphuric  acid  attacks  the  organic  matter 
suspended  in  the  oil,  charring  it,  and  causing  it  to  fall  to  the 
bottom  of  the  refining  tank.  The  action  is  reckoned  complete 
when  on  taking  out  a sample  of  the  oil  in  a porcelain  basin  the 
oil  itself  appears,  as  it  were,  water-white,  having  a lot  of  black 


Painter’s  Oils 


53 


specks  in  it.  After  thorough  agitation  the  oil  is  allowed  to 
remain  for  the  acid  to  settle,  and  the  impurities  are  then  drawn 
off  by  the  bottom  cock  in  the  tank.  Hot  water  is  admitted  into 
the  tank  and  the  agitators  set  in  motion ; this  frees  the  oil  from 
any  remaining  acid  that  may  he  present.  When  the  agitators 
are  stopped  the  acid  water  settles  to  the  bottom  of  the  tank, 
being  heavier  than  the  oil,  and  is  drawn  off ; the  oil  is  then 
pumped  into  its  tank  to  remain  until  bright  and  clear  and  fit 
for  use  as  refined  linseed  oil. 

This  is  much  paler  in  colour  than  raw  linseed  oil,  and  is  used 
for  grinding  white  lead  and  other  white  pigments,  as  the  raw 
oil  would  only  cause  the  colour  to  become  somewhat  dark  if 
ground  in  that  oil.  It  is  quite  possible  by  careful  treatment  to 
obtain  this  oil  as  pale  as  poppy  oil,  if  care  is  used,  by  the  acid 
treatment  in  refining.  Other  oils,  such  as  pale  and  dark  boiled 
linseed  oils,  are  specially  prepared  and  treated  under  their 
respective  heads,  as  the  following  will  show. 

PALE  BOILED  OIL. 

This  oil  is  prepared  from  the  raw  linseed  by  special  treat- 
ment, which  renders  it  quicker  in  drying,  and  in  some  instances 
paler  in  colour. 

The  operation  is  carried  out  in  a steam  jacketed  boiler  or 
pan  having  steam  coils  (closed)  to  admit  the  oil  being  heated ; 
clear  bright  raw  linseed  oil  is  pumped  into  the  boiler  or  pan ; 
the  steam  is  turned  on,  and  the  oil  heated  gently  to  a high 
point,  then  gradually  cooled  by  passing  in  cold  water  through 
coils  made  specially  for  this  purpose.  The  oil  is  again  heated, 
and  a J lb.  of  borate  of  manganese  is  added  to  every  1 cwt.  of  oil 
present,  which,  dissolving  in  it,  increases  its  drying  properties 
and  causes  its  pale  colour.  When  sufficiently  boiled  the  steam 
heat  is  stopped,  and  a sample  is  taken  and  compared  with  the 
usual  standard,  and  if  the  colour  is  the  same,  the  oil  is  run  off 
into  its  tank  to  become  bright  and  clear.  It  is  afterwards 


54  Paints,  Colours,  Oils,  and  Varnishes 


tested  for  its  drying  properties,  that  is,  the  length  of  time  it 
takes  to  dry  on  a piece  of  glass  exposed  to  the  air  is  ascertained. 
It  should  be  about  twelve  hours,  if  the  colour  is  very  pale ; 
sometimes  in  winter  it  takes  longer,  but  the  greater  length  of 
time  it  remains  in  the  tank  the  better  drying  and  body  will  it 
attain,  as  it  improves  by  keeping. 

During  the  heating  of  the  oil  air  is  forced  into  it  by  means 
of  a blower,  which  greatly  increases  its  drying  properties,  etc. 

DOUBLE  OR  DARK  BOILED  OIL. 

This  oil  is  also  raw  linseed  oil,  which  is  pumped  into  a large 
steam  jacketed  boiler  or  pan,  made  to  hold  in  some  works 
about  four  to  six  tons  of  oil,  and  which  is  heated  by  steam 
from  a steam  boiler.  The  temperature  is  slowly  raised,  and 
lead  driers,  such  as  red  lead  and  oxide  of  lead  (litharge),  are 
added  slowly,  which,  on  dissolving,  increases  its  drying  pro- 
perties. Air  is  now  forced  into  the  oil  by  means  of  a “ blower,” 
which  also  exerts  a great  influence  on  the  drying  properties  of 
the  oil,  as  it  is  its  great  affinity  for  oxygen  that  renders  it  much 
sought  after  by  painters  for  quick-drying  dark  colours,  such  as 
black,  lead  colours,  etc. 

When  the  boiling  is  finished  the  steam  heat  is  stopped  and 
the  oil  allowed  to  cool.  It  is  then  run  into  its  tank,  and 
remains  until  clear  and  bright ; this  dries  in  about  eight  hours, 
if  boiled  with  red  lead  or  litharge.  Other  driers  are  used  which 
are  called  resinates,  and  which  melt  much  more  quickly  than 
lead  compounds,  on  account  of  being  mixed  with  resin,  which 
on  heating  in  the  oil  rapidly  dissolves. 

ADULTERANTS  FOR  LINSEED  OIL. 

As  linseed  oil  varies  in  price  the  manufacturer  resorts  to 
blending  other  oils  with  it  to  somewhat  lower  the  cost.  They 
do  not  injuriously  affect  the  oil,  except  by  retarding  its  drying 
properties  and  causing  it  to  take  longer  in  drying;  and  by 


Painter’s  Oils 


55 


making  it  dry  with  a less  firm  and  elastic  coat  or  skin  than  the 
genuine  quality.  These  oils  are  called  “ reduced,”  and  are  sold 
as  such. 

There  are  rules  adopted  whereby  these  adulterated  oils  can 
be  detected,  and  from  chemical  research  we  find  that  nearly 
every  oil  has  its  own  peculiar  feature  about  it ; the  smell,  taste, 
appearance,  specific  gravity,  or  the  behaviour  in  being  tested 
chemically.  By  means  of  the  various  tests  laid  down  by  these 
chemists,  one  is  enabled  to  say  which  oil  is  genuine  and  which 
is  not  so ; and  the  amount  of  the  adulterants  is  easily  obtained 
by  the  student  as  he  gets  advanced  in  his  studies.  The  chief 
adulterants  are  rosin  and  several  light  gravity  oils,  blended 
together  in  various  proportions.  They  can  be  detected  by 
chemical  tests,  which,  however,  need  not  trouble  the  first  year’s 
student. 

The  sketch  will  give  a good  idea  of  a boiling  oil  plant,  the  coils 
being  shown,  which  are  heated  by  steam  from  a steam  boiler. 
The  pan  is  made  to  hold  from  twenty  to  thirty  barrels  of  oil, 
having  plenty  of  room  to  allow  for  the  oil  frothing. 

Thermometers  for  registering  the  temperature  of  oil  is  also 
necessary,  because  the  best  results  are  based  on  various  tem- 
peratures reached. 

The  oil  is  generally  pumped  through  pipes  to  the  boiling 
plant  by  being  shot  from  the  barrels  over  the  oil  wall,  the 
pump  being  then  started,  which  sends  it  through  the  pipes 
into  the  plant.  The  draw-off  cock,  after  being  connected  to 
the  store  tank  by  means  of  pipes,  is  opened,  and  the  oil  runs 
into  it  to  remain  and  become  quite  cold,  clear,  and  bright. 

All  factories  have  pipes  fitted  to  each  store  tank,  which  are 
connected  to  the  main  pipe  of  the  pump  of  the  oil  well  and  to 
the  boiling  plant.  By  turning  off  all  the  cocks  but  the  one  which 
is  in  use  for  this  particular  tank,  the  oil  from  the  boiling  plant  is 
run  either  into  the  well,  to  be  pumped  into  the  tank,  or  is  run 
into  it  direct  from  the  boiler.  This  saves  both  time  and  labour, 


5 6 Paints,  Colours,  Oils,  and  Varnishes 


Fig.  7. — Oil-Boiling  Plant  Boiling  Pan. 

A,  Hood. 

B,  Oil  inlet  pipe. 

C,  Air  pipe. 

D,  Steam  inlet  pipe  for  coils. 

E,  Exhaust  steam  pipe. 

F,  Oil  outlet  or  draw-off  pipe. 


Painter’s  Oils 


5 7 


as  several  tons  of  oil  can  in  this  way  be  pumped  or  run  in 
about  half  an  hour,  according  to  the  diameter  of  the  pipes  in 
use.  The  pump  is  also  used  to  force  the ‘oil  into  the  boiling 
plant,  or  into  the  store  tanks. 

Hydrometers  are  made  to  register  various  liquids,  each  liquid 
having  its  own  registered  specific  gravity  at  60°  F.  Raw  linseed 
oil  registers  0*932  to  0*934;  whilst  boiled  linseed  oil  registers 
0*945  to  0*947,  according  to  its  degree  of  boiling,  etc. ; for,  by 
blowing  air  into  it  when  boiling,  it  may  be  made  to  register 
more  than  this,  and  some  genuine  oils  are  even  heavier  than 
those  mentioned  here,  so  that  every  test  is  gone  through  before 
a sample  is  condemned. 


SECTION  XIII. 


Turpentine. 

rnHERE  are  three  varieties  which  are  familiar  to  us  in  the 
-L  paint  trade,  and  they  are  known  by  the  names  of  American, 
Russian,  and  French  turpentines.  The  first  two  named  are 
those  mostly  used  in  our  factories,  whilst  the  last-named  is 
seldom  seen  here,  as  it  is  used  in  the  various  manufacturing 
industries  in  its  native  country. 

These  turpentines  are  of  great  importance  in  the  making  of 
liquid  paints,  being  used  in  the  proportions  of  one  part  of  tur- 
pentine to  three  parts  of  either  boiled  or  raw  linseed  oil,  and 
forming  the  thinnings  to  be  used  for  reducing  the  paste  pig- 
ment into  the  required  consistency,  for  decorators’  and  painters’ 
use. 

The  process  of  manufacture  is  very  simple  and  interesting, 
and  consists  of  collecting  the  exudations  that  flow  from  the 
pine  trees  which  grow  in  all  parts  of  the  world.  Though 
genuine  turpentines  differ  in  several  ways  from  one  another, 
any  one  acquainted  with  pine  wood  will  perhaps  remember 
having  handled  a hoard  and  finding  a gummy  substance  thereon. 
It  is  this  gum  which  is  collected ; the  tree  being  cut  in  such 
a way  as  to  cause  this  gum  or  resin  to  flow  into  rough  boxes 
placed  to  receive  it. 

The  resin  or  gum  is  placed  in  a large  iron-still  having  the 
necessary  condensers  and  receiver  for  collecting  the  turpentine 
as  it  distils  over.  The  fire  is  lighted,  and  when  the  tem- 
perature has  reached  the  correct  point,  steam  is  admitted  by  a 

58 


Turpentine 


59 


pipe  from  a steam  boiler,  and  the  turpentine  comes  over  with 
the  condensed  steam  and  is  collected  into  earthen  or  tin  lined 
vessels.  The  water  settles  to  the  bottom  of  these  vessels  and 
the  turpentine  is  carefully  collected  from  the  top,  so  forming 
the  commercial  variety  known  to  us.  There  are  several  pro- 
cesses adapted,  but  the  above  will  give  a good  idea  how 
turpentine  is  obtained. 

American  turpentine  is  that  which  is  most  used.  It  is 
water-white  in  colour  with  a pungent  smell,  not  very  disagree- 
able. Russian  turpentine  is  somewhat  stronger,  and  gives  off 
the  well-known  smell  of  “ sanitas  ” ; whilst  the  French  is  very 
similar  to  the  American  in  smell,  etc. 

These  turpentines  are  sometimes  adulterated,  but  various 
scientific  instruments  used  in  the  laboratories,  if  carefully  mani- 
pulated by  experienced  hands,  can  easily  detect  the  adulterant 
by  the  specific  gravity,  flash  point,  etc.  Certain  laws  are  laid 
down  by  research  chemists,  which  enable  us  to  find  out  these 
adulterants,  as  the  genuine  article  gives  certain  results  under 
these  examinations  which  are  not  obtained,  if  it  is  in  any  way 
adulterated ; and  it  is  by  these  methods  that  we  are  enabled  to 
really  find  out  what  they  are  composed  of,  though  they  are 
sometimes  hard  to  define  on  account  of  the  complex  nature  of 
turpentines  generally.  If  a spot  of  turpentine  placed  on  a 
white  sheet  of  paper  evaporates,  leaving  no  stain  behind,  one 
can  generally  calculate  it  is  genuine. 


SECTION  XIV. 


Oil  Varnishes. 

11HIS  branch  is  also  a special  industry  by  itself,  the  resulting 
articles  being  the  product  of  practical  experience,  gained 
by  many  years  of  hard  work  and  forethought  on  the  part  of 
those  preparing  them. 

The  only  means  of  making  them  successfully  is  through 
practical  work  and  noting  of  each  result,  such  as  colour,  drying 
properties,  gloss,  hardness,  and  wear.  Every  practical  man  has 
his  own  idea  of  working,  so  that  these  recipes  and  instructions 
must  not  be  taken  .for  granted  that  my  method  is  adopted ; it  is 
only  placed  here  as  an  illustration  for  the  student  to  glean  an 
idea  how  these  varnishes  are  made,  and  the  recipes  are  typical 
ones  to  follow  as  a course  of  instruction. 

The  varnish  factory  is  generally  a brick-built  shed,  having 
corrugated  iron-roof  with  gum-running  pots  and  furnaces  fixed, 
so  that  the  various  gums  used  in  varnish-making  can  be  melted  ; 
and  it  depends  to  a great  extent  on  the  nature  of  the  gums 
used  whether  good  serviceable  varnishes  are  obtained.  Gums 
have  not  all  the  same  properties  of  imparting  hardness  and  lustre 
to  the  oil,  so  that  each  gum  has  its  own  peculiar  feature,  which 
must  be  well  understood  by  practical  men,  to  obtain  special  fine 
class  varnishes,  to  resist  that  which  is  claimed  for  them. 

Special  plants  and  apparatus,  known  only  to  those  engaged 
on  this  work,  are  employed  to  bring  about  these  results,  and 
every  little  detail  is  gone  into  fully  before  one  can  make  them 
successfully. 


60 


Oil  Varnishes 


6 1 


The  furnace  is  brick  built  or  in  iron  work,  being  so 
arranged  that  the  flame  reaches  round  the  gum-running  pot. 
This  pot  has  a flange  made  round  the  top  fitting  into  the 
furnace,  so  that  if  any  gum  or  oil  should  accidentally  run  over, 
it  would  not  take  fire  from  the  furnace,  and  thereby  cause 
a conflagration,  which  might  result  in  the  whole  factory  being 
consumed.  This  is  the  reason  that  these  factories  are  only 
built  shed-like,  being  so  liable  to  be  burnt  out  at  any  time. 


Fig.  8. — Varnish  Factory. 


The  sketch  here  depicted  gives  a very  good  idea  of  such  a 
factory.  Some  are  built  on  ground-floor  (concreted),  and  the 
furnace  is,  in  consequence,  built  under  ground;  but  my  sketch 
shows  the  ground  floor  and  one  floor  above,  so  that  when  the 
furnace  is  built  at  one  end  tTie  remaining  ground  space  can 
be  used  for  storing  gums,  etc. 

The  description  of  this  factory  is  as  follows : — 

A is  the  furnace,  built  so  that  it  can  be  fed  from  the  out- 
side of  building. 


62  Paints,  Colours,  Oils,  and  Varnishes 


B is  the  flue  and  chimney. 

C,  the  gum-running  pot. 

D,  hood  to  carry  off  fumes  during  melting,  etc. 

E,  raw  linseed  oil  storage  tank. 

F,  cellar  for  storage  of  resins,  gums,  etc. 

Fig  9 shows  a truck  for  lifting  gum-running  pot  off  the  fire 
and  carrying  it  away  to  the  mixing  shed. 


Fig.  9. — Truck  for  lifting  and  carrying  Gum- 
running  Pots. 


This  truck  is  made  so  that  the  handles  act  as  a lever, 
which  is  brought  close  to  the  gum-running  pot,  and  the  two 
hooks  at  the  end  fit  the  two  studs  on  the  sides  of  pot,  and  by 
pressure  on  the  handles,  the  pot  is  drawn  out  of  the  furnace  so 
that  it  can  be  run  away  into  the  mixing  or  finishing-off  shed. 

Manufacturing. 

Every  varnish  made  is  based  upon  price,  and  accordingly 
only  those  varnishes  are  produced  which  repay  the  manu- 
facturers producing  them. 


Oil  Varnishes 


63 


For  coach-builders’  varnishes  nothing  hut  good  selected 
gums,  oil,  and  turps  are  used,  because  there  are  several  im- 
portant points  to  be  considered,  namely,  hardness,  elasticity, 
and  good  gloss. 

The  best  gum  for  this  class  of  work  is  a mixture  of  gum 
amine  and  selected  copal the  proportions  of  each  vary  accord- 
ing to  the  plant  used  for  melting  and  mixing.  A good  method 
is  to  take — 

20  lb.  gum  amine, 

20  ,,  ,,  copal  (selected), 

and  place  them  in  the  gum-running  pot  over  the  furnace.  The 
heat  after  a time  melts  the  gum.  Generally  about  1 gallon  of 
old  matured  linseed  oil  is  added  to  prevent  the  gum  from  burn- 
ing, and  this,  if  constantly  stirred,  lubricates  the  sides  of  the 
pot  to  a certain  extent,  and  preserves  it. 

Whilst  the  melting  is  in  operation,  old  matured  linseed  oil  is 
also  heated  to  within  the  temperature  of  the  gum  in  a steam- 
jacketed  pan,  or  in  a pot,  over  another  furnace.  When  the 
gum  has  quite  dissolved  and  no  lumps  are  present,  this  hot 
linseed  oil  is  brought  in,  the  lifting  and  carrying  truck  is 
placed  under  the  studs  or  handles  of  the  gum-running  pot,  and 
by  pressure  on  the  handles  the  pot  is  lifted  out  of  the  furnace, 
ready  to  he  emptied  into  the  hot  linseed  oil.  Another  running 
of  gum  is  placed  into  another  pot,  and  this  melting  is  going  on 
whilst  that  previously  melted  is  mixed  off  into  the  proper 
proportions,  as  this  prevents  waste  of  coals. 

The  old  matured  linseed  oil  is  raw  linseed  oil,  which  before 
being  tanked  is  heated  to  a very  high  temperature,  and  by  this 
heating,  moisture  is  driven  out  of  the  oil.  When  this  process 
is  completed,  various  lead  driers  are  added,  which  dissolve  in 
the  oil  and  increase  its  drying  properties.  It  is  then  tanked 
for  several  months,  which  tanking  imparts  good  and  important 
properties  both  to  the  oil  and  to  the  varnish  itself,  besides 
increasing  its  specific  gravity  or  making  it  thicker  in  body.  In 


6 4 Paints,  Colours,  Oils,  and  Varnishes 


making  varnishes  the  amount  of  gum  required  for  each  gallon  of 
oil  or  turps  is  calculated ; generally  4 lb.  to  the  gallon  proves 
sufficient.  So  that  if  the  40  lb.  of  gum  is  run  and  lifted  off 
the  furnace,  6J  gallons  of  the  hot  linseed  oil,  of  which  there 
may  he  about  20  gallons  in  the  steam-jacketed  pan  ready 
for  mixing,  is  taken  and  thoroughly  stirred  into  it.  Then  the 
pot  is  run  into  the  “ open,”  or  a shed,  to  allow  it  to  cool. 
When  cooled  sufficiently,  gallons  of  turps  is  added  and  well 
stirred ; then  the  varnish  is  run  through  strainers  and  put  into 
tanks  to  fine  down  and  get  clear  and  bright,  after  which  it 
is  ready  to  send  out. 

These  varnishes  are  made  in  factories  in  large  quantities  by 
having  large  gum-running  pots  to  hold,  say,  1 cwt.  gum,  and 
calculating,  say,  3 to  4 lb.  of  gum  to  1 gallon  of  oil  and  turps  ; 
thus  it  requires  very  little  trouble  to  reckon  the  amount  for 
20  to  30  gallons  of  the  varnish  to  be  made. 

The  oil  is  generally  calculated  at  the  rate  of  three  parts,  with 
one  part  of  turpentine,  to  the  amount  of  gum  used  in  the 
1 gallon  of  varnish.  Too  great  a proportion  of  gum  causes  the 
varnish  to  crack  when  drying,  and  too  much  oil  retards  its 
drying  properties,  making  it  require  a longer  time  to  dry 
properly ; while  too  much  turpentine  takes  away  the  gloss  and 
makes  it  dry  of  a flatting  nature. 

The  maker  of  varnishes,  before  sending  them  out,  always 
tries  them  by  having  a large  number  of  hoards  ready  painted. 
The  varnish  is  tested  for  its  easy  flowing  and  working  from  the 
brush,  the  time  necessary  to  dry  it  thoroughly,  its  gloss,  hard- 
ness, etc.;  and  all  the  results  noted  down  in  a hook  for  re- 
ference. 

For  best  work  for  coaches,  only  the  best  gums  are  used ; but 
for  common  work,  resin  is  used  along  with  gum,  making  a 
cheaper  article,  which  is  quite  good  enough  for  common  work, 
so  that  the  student  must  remember  cheap  gums  are  used  in 
making  cheap  varnishes. 


Oil  Varnishes  65 

The  recipes  here  given  are  only  typical  ones  for  the  various 
varnishes : — 

Coach  Varnish. 

40  lb.  gum  amine. 

40  „ „ copal  best. 

15  gals,  old  linseed  oil. 

5 „ turpentine. 

Carriage  Varnish. 

80  lb.  best  copal  gum. 

15  gals,  old  linseed  oil. 

5 „ turpentine. 

Hard  Carriage  Varnish. 

40  lb.  gum  kauri. 

40  „ copal  gum. 

15  gals,  old  linseed  oil. 

5 „ turpentine. 

Hard  Church  Oak  Varnish. 

40  lb.  gum  kauri. 

40  „ resin. 

15  gals,  old  linseed  oil. 

5 „ turpentine. 


Gold  Size. 

40  lb.  gum  copal. 

40  ,,  ,,  kauri. 

15  gals,  old  linseed  oil. 
10  lb.  litharge. 

5 gals,  turpentine. 

Black  Japan. 

40  lb.  asphaltum. 

15  gals,  old  linseed  oil. 

5 „ turpentine. 

10  lb.  litharge. 


66  Paints,  Colours,  Oils,  and  Varnishes 


Brunswick  Black  or  Black  Varnish. 

40  lb.  asphaltum. 

15  gals,  old  linseed  oil. 

5 „ turpentine. 

10  lb.  litharge. 

Should  these  varnishes,  in  mixing,  appear  too  thick,  more 
oil  and  turpentine  should  be  added  in  the  proportions  of  three 
of  oil  to  one  of  turpentine,  until  they  are  thin  enough  to  work 
freely  from  the  brush. 

Flatting  varnishes  are  made  so  that  they  will  dry  flat  or 
dead ; and  the  usual  method  is  to  use  only  enough  gum  and  oil 
to  set  the  varnish  hard,  and  to  add  more  turpentine  until  that 
result  is  attained.  . 


SECTION  XV. 

Spirit  Varnishes,  Polishes,  Stains,  Etc. 

THESE  are  generally  manufactured  in  the  cold  state  by  using 
large  barrels  or  churns,  with  runners  or  shelves  let  in  the 
staves,  which  cause  the  gums  put  in  them  to  dissolve  more 
readily  in  the  spirit  as  they  revolve. 

The  barrels  are  made  to  hold  from  40  to  60  gallons  of  gum 


and  spirit,  and  the  makes  or  recipes  are  calculated  accordingly. 
By  looking  at  the  sketch  a good  idea  may  he  obtained  of  the 
spirit  varnish  churns,  of  which  large  numbers  are  employed  in 
paint  factories.  The  bung  hole  is  fitted  with  a screwed  flange 

and  a cap  with  a round  piece  of  leather  inside,  which  is  screwed 

67 


68  Paints,  Colours,  Oils,  and  Varnishes 


down  tightly  after  the  churn  is  charged  with  gum  and  spirit. 
The  shaft  carries  fast  and  loose  pulleys,  with  a striking  gear  for 
putting  on  the  hand  that  drives  it. 

The  various  spirit  varnishes  are  composed  of  gums  soluble  in 
spirit.  They  are  manila,  common  resin,  achroides,  sandarach, 
and  shellac,  and  resin  is  added  according  to  the  various  qualities. 
The  best  qualities  are  of  sandarach  only. 

These  are  also  calculated  at  the  rate  of  6 to  8 lb.  of  gum  to 
1 gallon  of  methylated  spirit.  The  recipes  here  given  are  for 
making  the  various  varnishes  : — 


White  Hard  Spirit  Varnish. 

6 lb.  sandarach. 

2 „ pale  resin. 

1 gal.  methylated  spirit. 

Brown  Hard  Spirit  Varnish. 

6 lb.  sandarach. 

2 „ dark  resin. 

1 gal.  methylated  spirit. 

^ oz.  dragon’s-blood. 

French  Polish. 

2J  lb.  orange  shellac  (best). 

1 gal.  methylated  spirit. 

Knotting  for  Wood. 

6 lb.  orange  shellac  (best). 

1 gal.  methylated  spirit. 

The  above  also  form  the  “body”  of  the  various  spirit  wood 
stains  by  having  aniline  dyes  soluble  in  spirit  put  into  them  to 
give  the  stain  required.  Hat  polishes  are  also  made  in  this  way. 

Crystal  paper  varnish,  too,  can  he  made  in  these  churns  by 
dissolving  gum  dammar  in  turpentine  in  the  proportion  of 


Spirit  Varnishes,  Polishes,  Stains,  Etc.  69 


8 lb.  of  gum  to  1 gallon  of  pure  turpentine.  It  is  after- 
wards “ tanked  ” to  allow  impurities  to  settle  and  to  become 
bright  and  clear.  The  white  and  brown  hard  spirit  varnishes, 
when  made,  are  likewise  put  into  large  wooden  barrels  (having 
a tight  closing  lid  to  prevent  evaporation  of  spirit),  to  allow  dirt 
to  settle  and  to  become  bright  and  clear.  After  all  the  bright 
varnish  is  drawn  off,  the  tank  or  barrel  is  well  cleansed  out  so 
as  to  be  ready  for  another  batch. 

Lacquers  and  other  polishes  are  made  by  dissolving  shellac  in 
methylated  spirit  and  colouring  with  turmeric  or  aniline  dye 
stuffs ; they  are  usually  made  very  thin,  about  2 to  3 lb.  of 
shellac  to  1 gallon  of  methylated  spirit.  If  only  a small 
quantity  is  required,  it  is  generally  made  by  placing  the  shellac 
and  spirit  in  an  earthenware  jar,  and  standing  it  near  the  steam 
boiler,  when  after  repeated  shakings  it  becomes  ready  for  use. 


SECTION  X Y I. 


Liquid  Paints. 


HE  best  way  to  manufacture  paints  is  to  use  a paint-mixer, 


which  renders  the  tinting  and  shading  more  thorough  than 
mixing  by  hand,  in  half  a turpentine  barrel,  with  a paddle- 
shaped tool ; for  large  batches  of  liquid  paint  its  use  is  essential 
as  a money-  and  labour-saving  article. 

The  method  is  to  make  up  the  various  qualities  of  white 
paints  and  pug  in  the  paint-mixer  (stiff)  with  the  oil,  and  grind 
them  very  line  in  roller  mills;  then  put  them  into  an  empty 
clean  “ stand”  or  “store  cask,”  which  afterwards  has  stencilled 
upon  it  the  quality  of  this  particular  make.  Whenever  an 
order  comes  in,  the  paint-mixer  is  well  cleaned  out  and  a 
certain  proportion  by  weight  is  placed  therein  with  the  re- 
quired amount  of  good  driers  and  refined  or  pale  boiled  linseed 
oil  and  turpentine,  to  be  thinned  to  the  required  consistency, 
and  afterwards  filled  out  into  paint  tins  or  drums. 

For  stone  colours  the  various  qualities  of  base  are  ground 
and  put  into  store  casks,  and  by  taking  certain  proportions  of 
them  and  adding  ochre,  umber,  etc.,  the  various  tints  are  pro- 
duced. Blues,  greens,  blacks,  purple  browns,  oxides,  yellows, 
buffs,  drabs,  etc.  etc.,  after  being  worked  out  for  cost,  should 
also  be  ground  stiff,  and  then  mixed  into  the  “ ready-for-use  ” by 
the  mixer. 

If,  when  the  paints  have  been  first  ground  stiff  in  oil,  water 
or  oil  is  placed  on  top  of  them,  it  would  prevent  skin  forming, 
which,  if  put  into  the  mixer,  would  require  to  be  strained  out. 


70 


Liquid  Paints 


7 


The  oils  chiefly  used  for  white  paints  are  pale  boiled  and  refined 
linseed  oils ; for  dark  colours  or  tints,  ordinary  boiled  linseed 
oil,  together  with  pure  turpentine  in  the  proportion  of  four  parts 
of  oil  to  one  part  of  turpentine.  The  proportion  of  ground  patent 
driers  depends  on  the  kind  of  paint  which  is  used.  If  lead 
composes  the  base,  about  10  lb.  of  driers  to  1 cwt.  ground  white 
lead  is  necessary.  Too  much  of  the  driers  tends  to  discolour 
the  white  and  turn  it  yellowish  in  hue.  Por  black  pigments, 
20  to  28  lb.  of  driers  may  have  to  be  used,  as  they  are  bad 
drying  pigments ; also  green  pigments  are  sometimes  trouble- 
some in  this  respect,  but  if  good  genuine  oils  are  used,  there 
need  be  no  fear  that  the  paints  will  not  dry  properly. 

The  various  shades  are  obtained  by  using  for 


Stone  Colour  Shade. 
White  base 

T u A / Ground  Oxford  ochre  . 

t Ground  burnt  umber  . 

Middle  Shade  Stone. 
White  base 

-t,  i i f Ground  Oxford  ochre  . 
lo  shade  -{ ri  , , , , 

t Ground  burnt  umber  . 

Dark  Shade  Stone. 
White  base 

rp  t , f Burnt  umber 
lo  shade  1 , 

^Ochre 


Lead  Colour. 
White  base 

To  shade — Black  pigment  . 


Sea  Green. 

White  base 

To  shade — Light  Brunswick  green. 


112  lb. 
4 „ 
1 „ 


112  lb. 
6 „ 
o 


112  lb. 
10  „ 
4 „ 


112  lb. 


112  lb. 


72  Paints,  Colours,  Oils,  and  Varnishes 


Light  Blue. 
White  base 

To  shade — Prussian  blue. 

Grass  Green. 

White  base 

To  shade — Light  Brunswick  green. 


Drabs . 


To  shade 


White  base 
/Ochre. 

{ Burnt  umber. 


Signal  Red. 
White  base 

To  shade — Vermilionette. 

Primrose  Chromes. 
White  base 

To  shade — Lemon  chrome. 


112  lb. 


112  lb. 


112  lb. 


112  lb. 


112  lb. 


Other  tints  and  shades  are  also  obtained  in  the  same  manner 
by  blending  various  colours  together  to  produce  them.  The 
student  by  taking  the  white  as  base,  and  using  black  or  blue 
pigments  with  great  care,  can  obtain  very  pale  and  deep  shades 
by  these  methods. 


SECTION  XVII. 


Enamel  Paints. 

THESE  paints  require  very  special  attention,  and  only  colours 
of  the  finest  quality  are  used  in  their  manufacture. 

The  best  method  is  to  mix  zinc  oxide  thoroughly  in  a clean 
pug  mill  with  just  sufficient  pale  boiled  oil  to  make  it  into  a 
very  stiff  paste ; this  is  absolutely  necessary  if  fine  glossy 
colours  are  to  he  obtained. 

The  zinc  is  ground  in  special  roller  mills  fitted  with  a 
lateral  motion,  that  is,  the  centre  roller  works  on  a cam 
which,  having  an  eccentric  groove  and  a fixed  arm  fitting  into 
it,  works  the  roller  backwards  and  forwards  and  ensures  fine 
grinding,  provided  the  rollers  are  set  for  the  particular  colour 
being  ground. 

All  colours  do  not  require  the  grinding  rollers  to  be  tightly 
set  or  screwed  up,  so  that  a few  remarks  on  this  subject  may 
benefit  those  grinding  pigments  for  fine  tube,  or  decorators’ 
purposes,  and  will  apply  also  to  enamel  paints,  as  they  are 
required  for  the  best  class  of  work. 

The  zinc  oxide  comes  through  the  rollers  very  stiff,  and  after 
grinding  once  through,  the  colour  is  tested  on  a piece  of  glass 
and  rubbed  out  with  a little  refined  linseed  oil ; this  shows  if 
any  grit  is  present.  If  necessary,  it  is  again  ground  before 
being  transferred  to  a mixing  mill,  where  the  varnish  is  added 
to  thin  it  out  to  the  required  consistency. 

All  these  pigments  are  calculated  on  a basis  of  so  much  to 
the  gallon ; some  will  require  5 lb.  to  the  gallon,  while  others, 

73 


74  Paints,  Colours,  Oils,  and  Varnishes 

being  lighter,  will  require  perhaps  only  1 lb.  ; So  that  covering 
power  or  body,  gloss,  and  fineness  are  most  essential  if  good 
first-class  enamels  are  to  be  obtained. 

Zinc  oxide  should  contain  about  6 lb.  to  the  gallon  of 
varnish,  and  enough  dry  oxide  is  pugged  to  make  about  36 
gallons,  which,  after  being  thinned  out  with  crystal  paper 
varnish  and  allowed  to  remain  to  oxidise  for  some  days,  is 
sure  to  give  a good  gloss,  and  cover  well.  A little  ground 
ultramarine  blue  in  varnish  is  added  to  this  white  to  improve 
its  colour,  which  dries  very  snow  white. 

Vermilionettes  which  have  lead  compounds  in  them  must  be 
mixed  with  pale  boiled  oil  and  oil  varnish  (such  as  French  oil) 
in  equal  parts,  leaving  them  stiff  enough  to  thin  out  with 
crystal  paper  varnish.  This  compound  being  of  a soft  nature, 
requires  to  be  ground  twice  through  cold  roller  mills  and  mixed 
off  directly,  as  it  oxidises  quickly  and  becomes  livery  or  glue- 
like and  useless  for  the  enamelling  purposes.  If  this  is  done, 
good  results  will  be  obtained.  It  is  better  to  make  the  result 
rather  thin  than  otherwise,  because,  by  having  it  exposed  to 
the  air,  it  increases  its  covering  power,  and  so  “ feeds  up,”  as 
it  is  called  in  the  factory. 

Prussian  blue  requires  very  careful  and  thorough  grinding, 
perhaps  seven  or  eight  times  before  becoming  fit  for  enamel 
tinting.  Being  ground  in  oil  (pale  boiled)  and  afterwards  in 
French  oil  varnish  several  times  to  finish  off,  and  then  thinned 
out  with  crystal  paper  varnish,  it  will  produce  good  results. 
About  4 lb.  of  this  Prussian  blue  to  1 gallon  varnish  should  be 
used  for  getting  the  various  shades  or  tints. 

Lemon,  middle,  and  orange  chrome  require  but  very  little 
grinding  to  fit  them  for  enamels  ; about  twice  through  cold 
rollers  will  be  enough.  These  are  then  thinned  out  in  equal 
parts  of  an  oil  varnish  and  crystal  paper  varnish  at  the 
rate  of  5 lb.  to  the  gallon  of  varnish  used.  This  being 
made  with  lead  compound,  requires  thinning  at  once,  or 


EnAmel  Paints  75 

the  colour  will  “set-  up”  and  be  no  use  for  its  purpose  of 
enamels. 

Burnt  sienna  requires  thorough  grinding,  on  account  of  its 
very  gritty  nature.  As  many  as  seven  or  eight  times  will  he 
required  to  free  it  from  grit ; and  as  this  pigment  imparts  to 
white  pigments  all  shades  of  terra  cottas,  grit  would  soon  show 
unless  very  finely  ground  ; it  is  thinned  off  with  equal  parts 
of  oil  and  crystal  paper  varnish  at  the  rate  of  about  6 lb.  of 
this  to  1 gallon  of  varnish. 

Oxford  ochres  need  to  be  of  very  fine  levigation  for  use  as 
enamel,  and  require  more  care  in  one  important  particular  item 
than  other  pigments.  When  pugged  with  pale  boiled  oil,  and 
ground  several  times  through  roller  mills,  it  is  thinned  off  with 
oil  varnish  and  allowed  to  stand  two  days  before  being  finally 
thinned  out  with  crystal  paper  varnish.  This  ensures  the 
colour  being  thoroughly  incorporated  with  the  varnish,  and  a 
splendid  gloss  is  obtained,  which  otherwise  would  be  lost,  as  the 
enamel  dries  dead  or  flat  if  used  at  once. 

Burnt  umber  is  treated  the  same  as  ochre  in  every  way,  and 
thinned  off. 

A few  shades  are  here  given  for  illustration,  and  the  student 
is  advised  to  go  farther  and  note  down  his  results  in  a book 
for  reference : — 

White. 

Ordinary  zinc  oxide  enamel. 

Stone  Colours. 

Ordinary  zinc  oxide  enamel. 

To  tint  chrome  enamel. 

\Burnt  umber  enamel. 

Old  Gold  Enamel. 

Oxford  ochre  enamel. 

rp  ,•  , ( Mid  chrome. 

To  tlnt  \ Vermilionette. 


76  Paints,  Colours,  Oils,  and  Varnishes 


Primrose. 

Ordinary  oxide  enamel. 
To  tint — Lemon  chrome  enamel. 


Hedge  Sparrow  Egg  Enamel. 

Ordinary  white  enamel. 

rp  ...  f Prussian  blue  enamel, 
lo  tint  i T . 

f Lemon  chrome. 


Royal  Mail  Enamel. 
Vermilionette. 

To  tint — Ordinary  white  enamel. 


Signal  Red  Enamel. 

Vermilionette  enamel. 
To  tint — Lemon  Chrome. 


Sealing  Wax. 

Vermilionette  enamel. 
To  tint — Lemon  Chrome. 


These  few  examples  will  show  at  once  what  are  the  bases, 
and  what  is  used  to  tint  them. 

Mention  has  been  made  that  in  enamel  paint  grinding,  after 
pigments  have  been  ground  through  the  roller  mills,  they  are 
passed  through  paint-mixing  mills,  which  are  very  useful 
indeed  for  thoroughly  incorporating  the  varnish  with  the  pig- 
ment, though  this  process  is  slow.  Yet  by  its  means  the  paste 
pigment  in  varnish  is  made  to  assume  a smooth  and  fine  con- 
sistency, which  greatly  helps  the  thinning  off  with  the  crystal 
varnish. 


Enamel  Paints 


77 


Fig.  11. 


Fig,  12. 


78  Paints,  Colours,  Oils,  and  Varnishes 


The  form  of  mill  here  shown  will  illustrate  those  in  use  for 
mixing  off  the  enamel  after  it  is  ground  through  the  roller 
mill.  They  are  also  useful  for  breaking  up  the  lumps  in 
ready  mixed  paints,  rendering  them  easier  to  mix  with  the 
thinnings. 


SECTION  XVIII. 


Questions. 

IT  must  be  noted  that  any  student  who  wishes  to  compete  for 
the  prize  medals,  money  prizes,  and  certificates  offered  by 
The  City  of  London  Guilds  and  Institutes  for  those  passing  with 
merit  this  course  of  instruction,  must  attend  a technical  school 
or  evening  class  where  this  instruction  is  given.  By  following 
out  the  instruction  given,  and  carefully  reading  up  this  book 
and  answering  the  questions  set,  they  will  be  enabled  to  pass 
with  credit. 

There  are  also  offered  evening  class  scholarships  of  five 
pounds  and  upwards  for  work  executed  by  students,  and  ex- 
hibited at  the  Head  Technical  Centre  of  the  London  County 
Council,  who  award  these  scholarships  for  the  best  work 
exhibited  by  painstaking  students,’  and  encourage  them  to  go 
farther  ahead  and  so  become  skilful  members  of  their  several 
branches  of  industry. 

1.  Sketch  and  describe  the  plant  necessary  for  making  lemon 
and  middle  chrome. 

2.  How  is  (a)  lemon  (b)  middle  chrome  manufactured? 

3.  How  is  orange  chrome  manufactured?  Describe  the  plant 
necessary,  with  sketch. 

4.  What  plant  is  necessary  for  the  making  of  Prussian  blue  ? 
Describe  the  manufacture. 

5.  How  would  you  manufacture  light,  middle,  and  deep 

Brunswick  green  ? Sketch  and  describe  plant. 

79 


8o  Paints,  Colours,  Oils,  and  Varnishes 


6.  How  would  you  proceed  to  match  a sample  of  olive  green 
for  coaches  ? 

7.  What  is  the  difference  between  vermilion  and  vermilion- 
ette  ? How  are  they  distinguished  one  from  the  other  ? 

8.  What  paint  would  you  recommend  for  the  painting  of  an 
iron  railway  bridge  ? Give  your  reasons. 

9.  How  is  oxide  of  iron  prepared  for  the  painter’s  use  ? How 
would  you  obtain  Venetian  and  light  purple  browns. 

10.  When  calcining  ochres  for  oxides  or  Venetian  reds,  to 
what  is  due  the  change  from  yellow  to  red  ? 

11.  What  blue  do  you  recommend  for  distemper  work?  and 
why  ? How  is  this  prepared  ? 

12.  Describe  the  manufacture  of  carbonate  of  lead. 

13.  Describe  the  mills  necessary  for  grinding  white  lead  in 
oil.  How  would  you  estimate  the  amount  of  oil  necessary  for 
grinding  10  cwts.  ? 

14.  How  is  zinc  oxide  obtained?  Describe  the  plant 
necessary. 

15.  What  is  necessary  for  levigating  ochres  and  umbers? 
What  process  do  they  undergo  to  fit  them  for  painter’s  use  ? 

16.  How  would  you  make  a liquid  paint  for  outside  use  in 
stone  colour  tint  to  dry  in  ten  hours? 

1 7.  How  is  linseed  oil  prepared  for  the  painter’s  use  ? What 
is  refined  linseed  oil  ? 

18.  Sketch  and  describe  the  plant  necessary  for  boiling 
(a)  pale  boiled  ( b ) ordinary  boiled  oils? 

19.  In  making  liquid  paint  care  is  advised  in  not  adding 
too  much  turpentine.  Why  is  this  ? State  fully  your 
reasons. 

20.  How  would  you  make  a so-called  wood  lake?  and  those 
made  by  aniline  dyes  ? How  could  you  distinguish  one  from 
the  other? 

21.  How  is  emerald  green  prepared?  What  would  you 
recommend  to  take  its  place,  or  make  as  a substitute  ? 


Questions 


8i 


22.  What  black  pigment  would  you  recommend  as  being  fit 
for  best-class  work  ? and  state  reasons. 

23.  How  is  gas  or  carbon  black  obtained  ? State  the  process 
fully. 

24.  How  are  the  following  varnishes  prepared 'l  (1)  White 
hard  ? (2)  brown  hard  ? State  fully  the  manufacture  and  plant 
necessary. 

25.  How  would  you  prepare  a paint  suitable  for  new  wood  ? 

26.  Sketch  and  describe  the  plant  necessary  for  the  manu- 
facture of  an  oil  varnish  suitable  for  coaches. 

27.  In  grinding  pale  chromes  care  is  advised  to  have  the 
roller  mills  quite  cold.  Why  is  this  ? 

28.  What  is  meant  by  pigments  having  body  or  covering 
power?  How  do  you  test  them  for  same? 

29.  A sample  of  dry  colour  is  given  you  to  match  for  tint. 
How  do  you  proceed  to  get  it  exactly  to  the  shade  ? 

30.  Some  colours  after  being  ground  in  oil  are  liable  to  skin 
over  after  standing.  Name  several,  and  state  precautions 
taken  to  prevent  this. 

Ten  questions  only  are  set  for  each  examination  in  the 
Ordinary  and  Honours  grades.  If  the  student  wishes  to  obtain 
one  of  these  certificates,  he  is  strongly  advised  to  master  fully 
those  above  set.  By  so  doing  he  will  gain  experience,  which  may 
be  the  means  of  his  developing  into  a good  workman  by  using 
his  “ head  ” as  well  as  his  hands. 


THE  END. 


6 


INDEX 


Acetate  of  lead,  48. 

Acetic  acid,  20,  46. 

Alum,  39,  40. 

Aniline  dyes,  39,  41,  42,  68. 
Arsenic,  white,  20. 

Asphaltum,  65,  66. 

Barium  chloride,  41. 

Barium  sulphate,  50. 

Barytes,  7,  16,  35,  36,  50. 

Bases,  7,  16,  32,  71. 

Bichromate  of  potash,  6,  8,  9,  10. 
Black,  bone,  33. 

Black,  carbon,  21,  22,  31,  32. 
Black  Japan  varnish,  65. 

Black  lake,  43. 

Black  pigments,  32,  33,  43,  71. 
Blue,  bronze,  16. 

Blue,  Chinese,  16. 

Blue  enamels,  75. 

Blue  lake,  43. 

Blue,  light,  72. 

Blue  pigments,  15,  16,  17,  18,  20, 
23,  72. 

Blue,  Prussian,  16,  17,  20,  21,  72. 
Blue,  ultramarine,  23. 

Bone  black,  33. 

Borate  of  manganese,  53. 

Brazil  wood,  40. 

Bronze  blue,  16. 

Bronze  greens,  21. 

Brown  pigments,  28,  31,  72. 

Brown,  purple,  35. 

Brown  spirit  varnish,  68. 

Brown,  Vandyke,  31. 

Brunswick  black  varnish,  66. 


Brunswick  green,  17,  18,  21,  22,  71, 
72. 

Burnt  sienna,  27. 

Burnt  sienna  enamel,  75. 

Burnt  umber,  21,  22,  28,  71. 

Calcined  soda,  41. 

Carbon  black,  21,  22,  31,  32. 
Carbonate  of  copper,  22. 

Carbonate  of  lead,  48. 

Carbonate  of  soda,  39,  40. 

Carmine,  39,  40. 

Carriage  varnish,  65. 

Caustic  potash,  9,  34. 

Caustic  soda,  9,  41. 

China  clay,  23,  43. 

Chinese  blue,  16. 

Chrome  enamels,  75. 

Chrome,  lemon,  6,  21,  42. 

Chrome,  lemon,  making,  6. 
Chrome-making  plant,  1,  2. 
Chrome,  middle,  8,  21. 

Chrome,  middle,  making,  8. 
Chrome,  orange,  making,  8. 
Chromes,  primrose,  72. 

Chrome,  zinc,  making,  10. 
Coach-builders’  varnish,  63,  65. 
Coal,  23. 

Cochineal,  39. 

Colour-drying,  3,  7,  10,  15,  17,  18, 
23. 

Copperas,  green,  15,  16. 

Copperous  sulphate,  35. 

Copper  sulphate,  20. 

Crystal  paper  varnish,  68,  74, 

75. 


8§ 


84 


Index 


Distempers,  10,  27,  51. 

Drab  pigments,  72. 

Dragon’s  blood,  68. 

Drying-room,  3,  7,  10,  15. 
Drying-room,  temperature  of,  7. 
Dutch  pink,  41. 

Dye  woods,  39. 

Earth  colours,  25. 

Edge-runner  mill,  11,  17,  21,  23, 
35,  47. 

Emerald  green,  19. 

Enamel,  blue,  75. 

Enamel,  burnt  sienna,  75. 

Enamel,  chrome,  75. 

Enamel,  “ hedge-sparrow- egg,”  76. 
Enamel,  ochre,  75. 

Enamel,  old  gold,  75. 

Enamel  paints,  73. 

Enamel,  primrose,  76. 

Enamel,  royal  mail,  76. 

Enamel,  signal  red,  76. 

Enamel,  stone,  75. 

Enamel,  umber,  75. 

Enamel,  white,  75. 

Eosin,  36,  37. 

Ferrous  sulphate,  35,  36. 
Filter-cloths,  4,  7,  10,  15,  17,  37, 
39,  42. 

Filter  frames,  4. 

Flatting  varnish,  66. 

French  polish,  68. 

Geological  museum,  22,  23,  34, 

47.  . 

Gold  size  varnish,  65. 

Grass  green,  72. 

Green,  bronze,  21. 

Green,  Brunswick,  17,  18,  21,  71, 
72. 

Green  copperas,  36. 

Green,  emerald,  19. 

Green,  grass,  72. 

Green,  malachite,  22. 

Green,  myrtle,  22. 

Green,  olive,  22. 

Green  pigments,  21,  71,  72. 

Green,  Quaker,  22. 

Green,  sea,  71. 


I Grinding  mills,  11. 

Gums,  61,  68. 

Gum  achroides,  68. 

Gum  amine,  63,  65. 

Gum  copal,  63,  65. 

Gum  dammar,  68. 

Gum  kauri,  65. 

Gum  manila,  68. 

Gum  sandarach,  68. 

Gum  shellac,  68. 

‘ ‘ Hedge-sparrow-Egg  ” enamel 
76. 

Hvdraulic  press,  3,  7,  10,  15,  17 
42,  47. 

Hydrochloric  acid,  15,  16,  50. 
Hydrometer,  57. 

Indian  red,  35. 

Ivory  black,  33. 

Knotting,  68. 

Lacquers,  69. 

Lakes,  39. 

Lake,  black,  43. 

Lake,  blue,  43. 

Lake,  lemon,  41,  43. 

Lake,  orange,  42. 

Lake,  red,  43. 

Lake,  violet,  43. 

Lake,  yellow,  40,  43. 

La2ris  lazuli , 23. 

Lead  acetate,  6,  8,  10. 

Lead  carbonate,  48. 

Lead  colic,  prevention  of,  47. 
j Lead  colours,  71. 

Lead  compounds,  44. 

| Lead,  orange,  37,  45. 

Lead,  red,  44,  54. 

Lead,  sugar  of,  36,  37. 

Lead  sulphate,  48. 

| Lead,  white,  45,  46. 

Lemon  chrome,  42. 

Lemon  lake,  41,  43. 

Lemon  chrome-making,  6. 
Levigating  mills,  26. 

Light  blue,  72. 

Linseed  oil,  raw,  28,  36. 

Liquid  paints,  70. 


Index 


85 


Litharge,  9,  36,  18,  54,  65,  66. 

Magnesium  chloride,  41. 
Malachite  green,  22. 

Mercury,  35. 

Methylated  spirit,  68. 

Middle  chrome-making,  8. 

Mill,  edge-runner,  11,  17,  21,  23, 
35. 

Mill,  levigating,  26. 

Mill  rollers,  13. 

Mixing-mill,  13,  77. 

Myrtle  green,  22. 

Note-books,  use  of,  5,  64. 

Oak  varnish,  65. 

Ochre  enamels,  75. 

Ochre,  golden,  21. 

Ochre,  Italian,  29. 

Ochre,  Oxford,  29,  71,  75. 

Ochre,  red,  29. 

Ochre,  stone,  29,  71. 

Old  gold  enamel,  75. 

Oil,  adulterants  of,  54. 

Oil,  boiled,  36. 

Oil-boiling  plant,  55. 

Oil,  dark  boiled,  54. 

Oil,  linseed,  raw,  52,  63,  65. 

Oil,  linseed,  refined,  53,  57,  70,  73. 
Oil,  pale  boiled,  53,  70. 

Oil  varnishes,  60. 

Olive  green,  22. 

Orange  chrome-making,  8. 

Orange  lake,  42. 

Orange  lead,  37,  45. 

Oxides,  red,  35. 

Paint,  liquid,  70. 

Paint-making,  floor  for,  3. 
Paint-making,  tools  for,  4,  70. 
Paint-making,  water  for,  3. 
Paint-mixing,  70. 

Paint-mixing  plant,  13,  77,  78. 
Permanent  or  “fast”  reds,  38. 
Pigments,  black,  32-83,  43,  71. 
Pigments,  blue,  15,  16,  17,  18,  20, 
23,  72. 

Pigments,  brown,  28,  31,  72. 
Pigments,  green,  21,  71,  72. 


I Pigments,  red,  29,  34,  72. 

I Pigments,  white,  46. 

Pigments,  yellow,  1,  21,  23,  27,  40, 
42,  72. 

Pink,  Dutch,  41. 

Pink,  rose,  40. 

Plant,  chrome-making,  1,  2,  9,  15. 
j Plant,  oil-boiling,  55. 

Poppy  oil,  53. 

Primrose  chromes,  72. 

Primrose  enamel,  76. 

Prussian  blue,  15,  17,  20,  21,  72. 
Prussiate  of  potash,  15,  16. 
Pug-mill,  horizontal,  14. 

Pug-mill,  vertical,  13. 

I Purple  brown,  35. 

Putty,  50. 

Quaker  green,  22. 

Quercitron  bark,  40. 

Questions,  78. 

Quinoline  yellow,  41. 

Raw  sienna,  26,  31. 

Raw  umber,  28,  29. 

Red,  Indian,  35. 

Red  lake,  43. 

Red  lead,  44,  54. 

Red  oxides,  35. 

| Red  pigments,  29,  34,  72. 

Red,  royal,  37. 

Red,  signal,  72. 
j Red,  Venetian,  29,  35. 

| Resin,  23,  64,  68. 

| Rolling  mills,  12,  47,  73. 

Rose  pink,  40. 
i Royal  mail  enamel,  76. 
j Royal  reds,  37. 

I 

Scholarships,  78. 

Sea  green,  71. 

Sealing  wax,  76. 

Sienna,  burnt,  27. 

Sienna,  raw,  26,  31. 
j Signal  red,  72. 
j Signal  red  enamel,  76. 
j Soda,  23. 

Soda,  calcined,  41. 

; Soda  crystals,  6,  8,  10,  18. 

I Soda,  washing,  8,  18. 


86 


Index 


Spirit  varnish,  67. 

Stone  colours,  71. 

Stone  enamel,  75. 

Sugar  of  lead,  48. 

Sulphate  of  lead,  48. 

Sulphate  of  soda,  6. 

Sulphur,  23,  34. 

Sulphuric  acid,  36,  47,  48,  52. 

Tannin,  43. 

Tartar  emetic,  43. 

Temperature  of  drying-rooms,  7. 
Tin  chloride,  39,  40. 

Turmeric,  69. 

Turpentine,  58,  59,  64,  65,  70. 
Turpentine,  adulteration  of,  59. 
Turpentine,  collection  of,  58. 

Ultramarine  blue,  23. 

Umber,  burnt,  21,  22,  28,  31. 
Umber  enamels,  75. 

Umber,  raw,  28,  29,  31. 

Vandyke  brown,  31. 

Varnish,  black  Japan,  65. 
Varnish,  brown  spirit,  68. 
Varnish,  Brunswick  black,  66. 
Varnish,  carriage,  65. 


Varnish  churn,  67. 

Varnish,  crystal  paper,  68,  74,  75. 
Varnish  factory,  60. 

Varnish,  flatting,  66. 

Varnish,  gold  size,  65. 

Varnish,  oak,  65. 

Varnish,  oil,  60. 

Varnish,  spirit,  67. 

Varnish,  white  spirit,  68. 

Venetian  red,  29,  35. 

Vermilion,  34. 

Vermilionettes,  36,  44,  72. 

Violet  lake,  42. 

Water  stains,  31. 

White  enamel,  75. 

White  lead,  7,  9,  45,  46. 

White  pigments,  46. 

White  spirit  varnish,  68. 

Whiting,  7,  16,  35,  40,  50. 

Yellow  lakes,  40,  43. 

Yellow  pigments,  1,  21,  23,  27,  40, 
42,  72. 

Yellow,  quinoline,  41. 

Zinc  chrome-making,  10. 

Zinc  oxide,  10,  48,  73. 


THE  MANUFACTURE  OF 

LAKE  PIGMENTS 

FROM  ARTIFICIAL  COLOURS. 

BY 

FRANCIS  H.  JENNISON,  F.I.C.,  F.C.S. 


16  Coloured  Plates,  showing  specimens  of  89  colours, 
specially  prepared  from  the  recipes 
given  in  the  book. 

136  PAGES . DEMY  8vo.  1900 . 


CONTENTS. 

Chap.  I.  Introduction. — IT.  The  Groups  of  the  Artificial 
Colouring  Matters. — III.  The  Nature  and  Manipulation  of 
Artificial  Colours. — IV.  Lake-forming  Bodies  for  Acid  Colours. 
— V.  Lake-forming  Bodies’  Basic  Colours. — VI.  Lake  Bases. 
— VII.  The  Principles  of  Lake  Formation. — VIII.  Red  Lakes. 
— IX.  Orange,  Yellow,  Green,  Blue,  Violet,  and  Black  Lakes. 
— X.  The  Production  of  Insoluble  Azo  Colours  in  the  Form 
of  Pigments. — XI.  The  General  Properties  of  Lakes  Produced 
from  Artificial  Colours. — XII.  Washing,  Filtering,  and  Finish- 
ing.— XIII.  Matching  and  Testing  Lake  Pigments. — Index. 


Price  7s.  6d. ; India  and  Colonies,  8s. ; Other 
Countries,  8s.  6d.  Strictly  Net. 


SIMPLE  METHODS  FOR  TESTING 


PAINTERS’  MATERIALS. 

BY 

A.  C.  WRIGHT,  M.A.  (Oxon.),  B.Sc.  (Lond.). 

CROWN  8vo.  160  pp.  8 ILLUSTRATIONS.  1903. 


CONTENTS. 

Introduction.  — Chap.  I.  The  Apparatus. — II.  The 
Reagents.  — III.  Practical  Tests:  Dry  Colours,  Stiff 
Paints,  Liquid  and  Enamel  Paints,  Oil  Varnishes,  Spirit 
Varnishes,  Driers,  Putty,  Linseed  Oil,  Turpentine,  Water 
Stains.— IV.  The  Chemical  Examination  : Dry  Colours  and 
Paints,  White  Pigments  and  Paints,  Yellow  Pigments  and 
Paints,  Blue  Pigments  and  Paints,  Green  Pigments  and  Paints, 
Red  Pigments  and  Paints,  Brown  Pigments  and  Paints,  Black 
Pigments  and  Paints,  Oil  Varnishes,  Linseed  Oil,  Turpentine. 
—Index. 


Price  5s. ; India  and  British  Colonies,  5s.  6d. ; 
Other  Countries,  6s.  Strictly  Net. 


THROUGH  ALL  BOOKSELLERS,  OR  OF 

SCOTT,  GREENWOOD  & CO. 

19  LUDGATE  HILL,  LONDON,  E.C. 


iaunooeo  catalogue 

OF 

Special  Weefinieal  EBooks. 


PAGE 

Adhesives  10 

Agricultural  Chemistry  ...  9 
Air,  Industrial  Use  of  ...  10 
Alcohol,  Industrial  ...  9 
Alum  and  its  Sulphates  ...  8 
Ammonia  ...  ...  ...  8 

Aniline  Colours  ...  ...  3 

Animal  Fats  6 

Anti-corrosive  Paints  ...  4 
Architecture,  Terms  in  ...  22 
Architectural  Pottery  ...  12 
Artificial  Perfumes  ...  7 
Balsams  ...  ...  ...  9 

Bleaching  Agents,  etc.  ...  17 

Bone  Products  ...  ...  8 

Bookbinding  23 

Brick-making  ...  l],  12 

Burnishing  Brass 20 

Carpet  Yarn  Printing  ...  16 

Casein  4 

Celluloid  23 

Cement  22 

Ceramic  Books  ...  11,  12 

Charcoal  8 

Chemical  Analysis...  ...  8 
Chemical  Essays  ...  ...  8 

Chemical  Reagents  ...  8 

Chemical  Works  8 

Clays...  12 

Coal  dust  Firing  ...  ...  19 

Colliery  Recovery  Work...  18 
Colour  Matching  (Textile)  16 
Colour-mixing  for  Dyers...  16 
Colour  Recipes  ...  ...  3 

Colour  Theory  ...  ...  16 

Combing  Machines 
Compounding  Ods,  etc, 
Condensing  Apparatus 
Cosmetics  ... 

Cotton  Dyeing 
Cotton  Spinning  ... 

Cotton  Waste 
Cranes  and  Hoists 
Damask  Weaving... 

Dampness  in  Buildings 
Decorators’  Books 
Decorative  Textiles 
Dental  Metallurgy... 
Disinfection 
Driers 
Drugs 

Drying  Oils 

Drying  with  Air,  etc. 

Dyeing  Ma  ble 
Dyeing  Woollen  Fabric 
Dyers’  Materials  ... 

Dye-stuffs  

Edible  Fats  and  Oils 
Electric  Lamp  Develop- 
ment  ...  ...  ...  21 

Electric  Wiring  ...  20,  21 

Electricity  in  Collieries  ...’  18 

Emery  ...  24 

Enamelling  Metal ] 13 

Enamels  13 

Engineering  Handbooks  ...  19 


INDEX  TO  SUBJECTS. 


PAGE 

Engraving 23 

Essenti  d Oils  7 

Evaporating  Apparatus  ..  19 
External  Plumbing  ...  20 

Fats  6,  7 

Faults  in  Woollen  Goods  15 
Flax  Spinning  ...  ...  18 

Food  and  Drugs  22 

Fruit  Preserving  ...  ...  22 

Gas  and  Oil  Engines  ...  19 
Gas  Firing  ...  ...  ...  19 

Glass-making  Recipes  ...  13 

Glass  Painting  13 

Glue-making  and  Testing...  8 
Greases  ...  ...  ...  6 

GuttaPercha  ...  ...  11 

Hat  Manufacturing  ...  15 

Hemp  Spinning  18 

History  of  Staffs  Potteries  12 
21 
21 
11 
5 

3,  4,  5,  9 
...  21 


Hops  ... 

Hot-water  Supply 
India-rubber... 

India-rubber  Substitutes 
Inks  ... 

Insecticides,  etc 
Iron-corrosion  ...  ...  4 

Iron,  Science  of  ...  ...  19 

Iron  and  Steel  Work  ...  20 
Japanning  ...  ...  ...  21 

Jute  Spinning  ...  ...  18 

Lace-Making  15 

Lacquering 20 

Lake  Pigments  ...  ...  3 

Lead  ...  10 


...  1 8 

Libraries 

24 

...  6 

Linoleum 

..  5 

...  19 

I Lithographic  Inks  ... 

..  5 

...  7 

Lithography 

..  23 

...  17 

Lubricants  ... 

..  6 

17,  18 

Manures  

8,  9 

...  18 

Meat  Preserving  ... 

..  22 

...  20 

Medicated  Soaps  ... 

..  7 

...  15 

Metal  Polishing  Soaps  . 

..  7 

...  22 

Mineral  Pigments  ... 

..  3 

...  4 I 

Mineral  Waxes 

..  6 

...  15 

Mine  Ventilation  ... 

..  18 

...  19 

Mine  Haulage 

..  18 

...  9 

Mining,  Electricity 

..  18 

...  5 

Needlework... 

..  15 

...  22 

Oil  anJ  Colour  Recipes  . 

..  3 

...  5 

Oil  Boiling  ... 

..  5 

...  10 

Oilmen’s  Sundries 

,.  3 

...  23 

Oil  Merchants’  Manual  .. 

6 

...  17 

Oils  5, 

6,  7 

...  16 

Ozone,  Industrial  Use  of.. 

. 10 

...  17  1 

Paint  Manufacture 

• 3 

Paint  Materials  ...  ...  3 

Paint-material  Testing  ...  4 

Paint  Mixing  ...  3,  4 l 

Paper-Mill  Chemistry  ...  13 

Paper-pulp  Dyeing  ...  13 

Petroleum  ...  ...  ...  6 ' 

Pigments  3,  9 I 

Plumbers’  Books 20  I 

Pottery  Clays  ...  ...  12 

PUBLISHED  BY 


PAGE 

Pottery  Decorating  ...  11 
Pottery  Manufacture  11,12 

Pottery  Marks  12 

Power-loom  Weaving  ...  14 

Preserved  Foods 22 

Printers’  Ready  Reckoner  23 
Printing  Inks  ...  3,  4,  5 

Recipes  3,  13 

Reinforced  Concrete  ...  19 

Resins  9 

Ring  Spinning  Frame  ...  18 
Risks  of  Occupations  ...  10 
Riveting  China,  etc.  ...  12 
Scheele’s  Essays  ...  ...  8 

Sealing  Waxes  ...  ...  10 

Shale  Oils  and  Tars  ...  9 

Shoe  Polishes  6 

Silk  Dyeing ...  17 

Silk  Throwing,  etc.  ...  17 
Smoke  Prevention...  ...  19 

Soap  Powders  7 

Soaps..,  ...  7 

Spinning  ...  ...  15,  17,  18 

Spirit  Varnishes  ...  ...  5 

Staining  Marble,  and  Bone  23 
Stain-removing  Soaps  ...  7 
Steam  Drying  ...  ...  10 

Steam  Turbines  ...  ...  20 

Steel  Hardening 19 

Sugar  Technology  ...  23 
Sweetmeats...  ...  ...  22 

Tallow  ...  ...  ...  6 

Technical  Schools,  List  ...  24 

Terra  cotta 11 

Testing  Paint  Materials  ...  4 

Textile  Design  ...  ...  15 

Textile  Fabrics  ...  14,  15 

Textile  Fibres  ...  ...  14 

Textile  Materials 14 

Timber  21 

Toilet  Soapmaking  ...  7 

Toothed  Gearing  ...  ...  20 

Varnishes  5 

Vegetable  Fats  and  Oils  ...  7 

Vegetable  Preserving  ...  22 
Warp  Sizing  ...  ...  16 

Waste  Utilisation  ...  ...  9 

Water,  Industrial  Use  ...  10 
Water-proofing  Fabrics  ...  16 
Waxes  ...  ...  ...  6 

Weaving  Calculations  ...  15 
White  Lead  and  Zinc  ...  5 

Wiring  Calculations  ...  21 
Wood  Distillation  ...  21 

W00J  Extracts  ...  ...  21 

Wood  Waste  Utilisation...  22 
Wood-Dyeing  ...  ...  23 

Wool- Dyeing  17 

Woollen  Goods  ...  15,  16,  17 

Woven  Fabrics  ...  ...  16 

Writing  Inks  ...  ...  9 

X-Ray  Work  1 1 

Yarn  Sizing  ...  ...  ...  16 

Yarn  Numbering  and  Test- 
ing   14,  15 

Zinc  White  Paints  ...  5 


SCOT T,  GREENWOOD  & SON, 

8 BROADWAY,  LUDGATE,  LONDON,  E.C. 


FULL  PARTICULARS  OF  CONTENTS 

Of  the  Books  mentioned  in  this  ABRIDGED  CATALOGUE 
will  be  found  in  the  following  Catalogues  of 

CURRENT  TECHNICAL  BOOKS. 

LIST  I. 

Artists’  Colours— Bone  Products — Butter  and  Margarine  Manufacture— Casein — 
Cements — Chemical  Works  (Designing  and  Erection) — Chemistry  (Agricultural,  Indus- 
trial, Practical  and  Theoretical) — Colour  Mixing — Colour  Manufacture — Compounding 
Oils — decorating — driers — Drying  Oils — Drysaltery — Emery — Essential  Oils  — Fats 
Animal,  Vegetable,  Edible)  — Gelatines  — Glues  — Greases  — Gums  — Inks  — Lead — 
Leather  — Lubricants  — Oils  — Oil  Crushing  — Paints  — Paint  Manufacturing  — Paint 
Material  Testing — Perfumes — Petroleum — Pharmacy — Recipes  (Paint,  Oil  and  Colour 
— Resins — Sealing  Waxes—  Shoe  Polishes  — Soap  Manufacture  — Solvents  — Spirit 
Varnishes — Varnishes — White  Lead — Workshop  Wrinkles. 


LIST  II. 

Bleaching  — Bookbinding  — Carpet  Yarn  Printing  — Colour  (Matching,  Mixing 
Theory) — Cotton  Combing  Machines— Dyeing  (Cotton,  Woollen  and  Silk  Goods)  — 
Dyers’  Materials — Dye-stuffs — Engraving — Flax,  Hemp  and  Jute  Spinning  and  Twisting 
— Gutta-Percha  — Hat  Manufacturing  — India-rubber  — Inks  — Lace-making — Litho- 
graphy— Needlework — Paper  Making  — Paper-Mill  Chemist  — Paper-pulp  Dyeing  — 
Point  Lace — Power-loom  Weaving— Printing  Inks — Silk  Throwing — Smoke  Preven- 
tion— Soaps — Spinning— Textile  (Spinning,  Designing,  Dyeing,  Weaving,  Finishing 
— ’Textile  Materials — Textile  Fabrics — Textile  Fibres — Textile  Oils — Textile  Soaps — 
Timber — Water  (Industrial  Uses)— Water-proofing — Weaving — Writing  Inks — Yarns 
Testing,  Sizing). 


LIST  III. 

Architectural  Terms — Brassware  (Bronzing,  Burnishing,  Dipping,  Lacquering) — 
Brickmaking — Building — Cement  Work — Ceramic  Industries — China — Coal-dust  Firing 
— Colliery  Books — Concrete — Condensing  Apparatus — Dental  Metallurgy — Drainage — 
Drugs — Dyeing — Earthenware — Electrical  Books — Enamelling — Enamels — Engineer- 
ing Handbooks — Evaporating  Apparatus — Flint  Glass-making — Foods — Food  Preserv- 
ing— Fruit  Preserving — Gas  Engines — Gas  Firing  — Gearing  — Glassware  (Painting, 
Riveting) — Hops — Iron  (Construction,  Science) — Japanning — Lead — Meat  Preserving 
— Mines  (Haulage,  Electrical  Equipment,  Ventilation,  Recovery  Work  from) — Plants 
(Diseases,  Fungicides,  Insecticides) — Plumbing  Books — Pottery  (Architectural.  Clays 
Decorating,  Manufacture,  Marks  on) — Reinforced  Concrete — Riveting  (China 
Earthenware,  Glassware) — Sanitary  Engineering — Steam  Turbines — Steel  (Hardening 
Tempering) — Sugar — Sweetmeats — Toothed  Gearing — Vegetable  Preserving  — Wood 
Dyeing — X-Ray  Work. 


COPIES  OF  ANY  OF  THESE  LISTS  WILL  BE  SENT 
POST  FREE  ON  APPLICATION. 


3 


(Paints,  Colours,  Pigments  and 
Printing  Inks.) 

THE  CHEMISTRY  OF  PIGMENTS.  By  Ernest  J. 
Parry,  B.Sc.  (Lond.),  F.I.C.;  F.C.S.,  and  J.  H.  Coste,  F.I.C., 
F.C.S.  Demy  8vo.  Five  Illustrations.  285  pp.  Price  10s.  6d. 
net.  (Post  free,  10s.  lOd.  home;  11s.  3d.  abroad.) 

THE  MANUFACTURE  OF  PAINT.  A Practical 

Handbook  for  Paint  Manufacturers,  Merchants  and  Painters. 
By  J.  Cruickshank  Smith,  B.Sc.  Demy  8vo. 

[New  Edition  in  Preparation. 

DICTIONARY  OF  CHEMICALS  AND  RAW 
PRODUCTS  USED  IN  THE  MANUFACTURE 
OF  PAINTS,  COLOURS,  VARNISHES  AND 
ALLIED  PREPARATIONS.  By  George  H.  Hurst, 

F.C.S.  Demy  8vo.  380  pp.  Price  7s.  6d.  net.  (Post  free,  8s. 
home  ; 8s.  6d.  abroad.) 

THE  MANUFACTURE  OF  LAKE  PIGMENTS 
FROM  ARTIFICIAL  COLOURS.  By  Francis  H. 
Jennison,  F.I.C.,  F.C.S.  Sixteen  Coloured  Plates,  showing 
Specimens  of  Eighty-nine  Colours,  specially  prepared  from 
the  Recipes  given  in  the  Book.  136  pp.  Demy  8vo.  Price 
7s.  6d.  net.  (Post  free,  7s.  lOd.  home;  8s.  abroad.) 

THE  MANUFACTURE  OF  MINERAL  AND  LAKE 
PIGMENTS.  Containing  Directions  for  the  Manu- 
facture of  all  Artificial,  Artists  and  Painters’  Colours,  Enamel, 
Soot  and  Metallic  Pigments.  A text-book  for  Manufacturers, 
Merchants,  Artists  and  Painters.  By  Dr.  Josef  Bersch. 
Translated  by  A.  C.  Wright,  M.A.  (Oxon.),  B.Sc.  (Lond.).  Forty- 
three  Illustrations.  476  pp.  Demy  8vo.  Price  12s.  6d.  net. 
(Post  free,  13s.  home  ; 13s.  6d.  abroad.) 

RECIPES  FOR  THE  COLOUR,  PAINT,  VARNISH. 
OIL,  SOAP  AND  DRYSALTERY  TRADES. 

Compiled  by  An  Analytical  Chemist.  330  pp.  Second  Revised 
and  Enlarged  Edition.  Demy  8vo.  Price  10s.  6d.  net.  (Post 
free,  11s.  home  ; 11s.  3d.  abroad.) 

OILMEN’S  SUNDRIES  AND  HOW  TO  MAKE  THEM. 

Being  a Collection  of  Practical  Recipes  for  Boot  Polishes,  Blues, 
Metal  Polishes,  Disinfectants,  etc.,  compiled  from  “ Oils,  Col- 
ours and  Drysalteries”.  Crown  8vo.  130  pages.  Price  2s.  6d. 
net.  (Post  free,  2s.  9d.  home  ; 2s.  lOd.  abroad.) 

OIL  COLOURS  AND  PRINTERS’  INKS.  By  Louis 

Edgar  Andes.  Translated  from  the  German.  215  pp.  Crown 
8vo.  56  Illustrations.  Price  5s.  net.  (Post  free,  5s.  4d.  home  ; 
5s.  6d.  abroad.) 


4 


MODERN  PRINTING  INKS.  A Practical  Handbook 
for  Printing  Ink  Manufacturers  and  Printers.  By  Alfred  Sey- 
mour. Demy  8vo.  Six  Illustrations.  90  pages.  Price  5s.  net. 
(Post  free,  5s.  4d.  home  ; 5s.  6d.  abroad.) 

THREE  HUNDRED  SHADES  AND  HOW  TO  MIX 
THEM.  For  Architects,  Painters  and  Decorators.  By 

A.  Desaint,  Artistic  Interior  Decorator  of  Paris.  The  book  con- 
tains 100  folio  Plates,  measuring  12  in.  by  7 in.,  each  Plate  con- 
taining specimens  of  three  artistic  shades..  These  shades  are  all 
numbered,  and  their  composition  and  particulars  for  mixing  are 
fully  given  at  the  beginning  of  the  book.  Each  Plate  is  inter- 
leaved with  grease-proof  paper,  and  the  volume  is  very  artistic- 
ally bound  in  art  and  linen  with  the  Shield  of  the  Painters’  Guild 
impressed  on  the  cover  in  gold  and  silver.  Price  21s.  net.  (Post 
free,  21s.  6d.  home;  22s.  6d.  abroad.) 

HOUSE  DECORATING  AND  PAINTING.  By  W. 

Norman  Brown.  Eighty-eight  Illustrations.  150  pp.  Crown 
8vo.  Price  3s.  6d.  net.  (Post  free,  3s.  9d.  home  and  abroad.) 

A HISTORY  OF  DECORATIVE  ART.  By  W.  Norman 
Brown.  Thirty-nine  Illustrations.  96  pp.  Crown  8vo.  Price 
Is.  net.  (Post  free,  Is.  3d.  home  and  abroad.) 

WORKSHOP  WRINKLES  for  Decorators,  Painters, 

Paperhangers,  and  Others.  By  W.  N.  Brown.  Crown  8vo. 
128  pp.  Second  Edition.  Price  2s.  6d.  net.  (Post  free,  2s.  9d. 
home;  2s.  lOd.  abroad.) 

CASEIN.  By  Robert  Scherer.  Translated  from  the 
German  by  Chas.  Salter.  Demy  8vo.  Illustrated.  Second 
Revised  English  Edition.  160  pp.  Price  7s.  6d.  net.  (Post  free, 
7s.  lOd.  home;  8s.  abroad.) 

SIMPLE  METHODS  FOR  TESTING  PAINTERS’ 
MATERIALS.  By  A.  C.  Wright,  M.A.  (Oxon.), 

B. Sc.  (Lond.).  Crown  8vo.  160  pp.  Price  5s.  net.  (Post  free, 
5s.  3d.  home ; 5s.  6d.  abroad.) 

IRON-CORROSION,  ANTI-FOULING  AND  ANTI- 
CORROSIVE PAINTS.  Translated  from  the  German 
of  Louis  Edgar  Andes.  Sixty-two  Illustrations.  275  pp. 

Demy  8vo.  Price  10s.  6d.  net.  (Post  free,  10s.  lOd.  home; 
11s.  3d.  abroad.) 

THE  TESTING  AND  VALUATION  OF  RAW 
MATERIALS  USED  IN  PAINT  AND  COLOUR 
MANUFACTURE.  By  M.  W.  Jones,  F.C.S.  A 

Book  for  the  Laboratories  of  Colour  Works.  88  pp.  Crown  Svo. 
Price  5s.  net.  (Post  free,  5s.  3d.  home  and  abroad.) 

For  contents  of  these  books , see  List  I. 


5 


THE  MANUFACTURE  AND  COMPARATIVE 
MERITS  OF  WHITE  LEAD  AND  ZINC  WHITE 
PAINTS.  By  G.  Petit,  Civil  Engineer,  etc.  Trans- 
lated from  the  French.  Crown  8vo.  100  pp.  Price  4s.  net. 
(Post  free,  4s.  3d.  home  ; 4s.  4d.  abroad.) 

STUDENTS'  HANDBOOK  OF  PAINTS,  COLOURS, 
OILS  AND  VARNISHES.  By  J OHN  FURNELL. 
Crown  8vo.  12  Illustrations.  96  pp.  Price  2s.  6d.  net.  (Post 
free,  2s.  9d.  home  and  abroad.) 

PREPARATION  AND  USES  OF  WHITE  ZINC 
PAINTS.  Translated  from  the  French  of  P.  Fleury. 
Crown  8vo.  280  pages.  Price  6s.  net.  (Post  free,  6s.  4d.  home  ; 
6s.  6d.  abroad.)  [just  published. 


(Varnishes  and  Drying  Oils.) 

THE  MANUFACTURE  OF  VARNISHES  AND 
KINDRED  INDUSTRIES.  By  J.  Geddes  McIntosh. 

Second,  greatly  enlarged,  English  Edition,  in  three  Volumes, 
based  on  and  including  the  work  of  Ach.  Livache. 

Volume  I.— OIL  CRUSHING,  REFINING  AND 
BOILING,  THE  MANUFACTURE  OF  LINO- 
LEUM, PRINTING  AND  LITHOGRAPHIC 
INKS,  AND  INDIA-RUBBER  SUBSTITUTES. 

Demy  8vo.  150  pp.  29  Illustrations.  Price  7s.  6d.  net. 
(Post  free,  7s.  lOd.  home ; 8s.  abroad.) 

Volume  II.— VARNISH  MATERIALS  AND  OIL- 
VARNISH  MAKING.  Demy  8vo.  70  Illustrations. 
220  pp.  Price  10s.  6J.  net.  (Post  free,  10s.  lOd.  home  ; 
11s.  3d.  abroad.) 

Volume  III.— SPIRIT  VARNISHES  AND  SPIRIT 
VARNISH  MATERIALS.  Demy  8vo.  Illustrated. 

464  pp.  Price  12s.  6d.  net.  (Post  free,  13s.  home;  13s.  6d. 
abroad.) 

DRYING  OILS,  BOILED  OIL  AND  SOLID  AND 
LIQUID  DRIERS.  By  L.  E.  And£s.  Expressly 

Written  for  this  Series  of  Special  Technical  Books,  and  the 
Publishers  hold  the  Copyright  for  English  and  Foreign  Editions. 
Forty-two  Illustrations.  342  pp.  Demy  8vo.  Price  12s.  6d. 
net.  (Post  free,  13s.  home  ; 13s.  3d.  abroad.) 

(Analysis  of  Resins , see  page  9.) 


6 


(Oils,  Fats,  Waxes,  Greases,  Petroleum.) 

LUBRICATING  OILS,  FATS  AND  GREASES  : 

Their  Origin,  Preparation,  Properties,  Uses  and  Analyses.  A 
Handbook  for  Oil  Manufacturers,  Refiners  and  Merchants,  and 
the  Oil  and  Fat  Industry  in  General.  By  George  H.  Hurst, 
F.C.S.  Third  Revised  and  Enlarged  Edition.  Seventy-four 
Illustrations.  384  pp.  Demy  8vo.  Price  10s.  6d.  net.  (Post 
free,  11s.  home  ; 11s.  3d.  abroad.) 

TECHNOLOGY  OF  PETROLEUM  : Oil  Fields  of  the 

World — Their  History,  Geography  and  Geology — Annual  Pro- 
duction and  Development — Oil-well  Drilling — Transport.  By 
Henry  Neuberger  and  Henry  Noalhat.  Translated  from  the 
French  by  J.  G.  McIntosh.  550  pp.  153  Illustrations.  26  Plates. 
Super  Royal  8vo.  Price  21s.  net.  (Post  free,  21s.  9d.  home; 
23s.  6d.  abroad.) 

MINERAL  WAXES:  Their  Preparation  and  Uses.  By 
Rudolf  Gregorius.  Translated  from  the  German.  Crown  8vo. 
250  pp.  32  Illustrations.  Price  6s.  net.  (Post  free,  6s.  4d. 
home  ; 6s.  6d.  abroad.) 

THE  PRACTICAL  COMPOUNDING  OF  OILS, 
TALLOW  AND  GREASE  FOR  LUBRICA- 
TION, ETC.  By  An  Expert  Oil  Refiner.  Second 

Edition.  100  pp.  Demy  8vo.  Price  7s.  6d.  net.  (Post  free, 
7s.  lOd.  home  ; 8s.  abroad.) 

THE  MANUFACTURE  OF  LUBRICANTS,  SHOE 
POLISHES  AND  LEATHER  DRESSINGS.  By 

Richard  Brunner.  Translated  from  the  Sixth  German  Edition 
by  Chas.  Salter.  10  Illustrations.  Crown  8vo.  170  pp.  Price 
7s.  6d.  net.  (Post  free,  7s.  lOd.  home  ; 8s.  abroad.) 

THE  OIL  MERCHANTS’  MANUAL  AND  OIL 
TRADE  READY  RECKONER.  Compiled  by 
Frank  F.  Sherriff.  Second  Edition  Revised  and  Enlarged. 
Demy  8vo.  214  pp.  With  Two  Sheets  of  Tables.  Price  7s.  6d. 
net.  (Post  free,  7s.  lOd.  home  ; 8s.  3d.  abroad.) 


ANIMAL  FATS  AND  OILS:  Their  Practical  Pro- 
duction, Purification  and  Uses  for  a great  Variety  of  Purposes. 
Their  Properties,  Falsification  and  Examination.  Translated 
from  the  German  of  Louis  Edgar  Andes.  Sixty-two  Illustrations. 
240  pp.  Second  Edition,  Revised  and  Enlarged.  Demy  8vo. 
Price  10s.  6d.  net.  (Post  free,  10s.  lOd.  home;  11s.  3d.  abroad.) 

For  contents  of  these  books , see  List  /. 


7 


VEGETABLE  FATS  AND  OILS:  Their  Practical 

Preparation,  Purification  and  Employment  for  Various  Purposes, 
their  Properties,  Adulteration  and  Examination.  Translated 
from  the  German  of  Louis  Edgar  Andes.  Ninety-four  Illus- 
trations. 340  pp.  Second  Edition.  Demy  Svo.  Price  10s.  6d. 
net.  (Post  free,  11s.  home;  11s.  6d.  abroad.) 

EDIBLE  FATS  AND  OILS  : Their  Composition,  Manu- 
facture and  Analysis.  By  W.  H.  Simmons,  B.Sc.  (Lond.),  and 
C.  A.  Mitchell,  B.A.  (Oxon.).  Demy  8vo.  150  pp.  Price 
7s.  6d.  net.  (Post  free,  7s.  9d.  home  ; 8s.  abroad.) 

(Essential  Oils  and  Perfumes.) 

THE  CHEMISTRY  OP  ESSENTIAL  OILS  AND 
ARTIFICIAL  PERFUMES.  By  Ernest  J.  Parry, 

B.Sc.  (Lond.),  F.I.C.,  F.C.S.  Second  Edition,  Revised  and 
Enlarged.  552  pp.  20  Illustrations.  Demy  8vo.  Price  12s.  6d. 
net.  (Post  free,  13s.  home  ; 13s.  6d.  abroad.) 

(Soap  Manufacture.) 

SOAPS.  A Practical  Manual  of  the  Manufacture  of 
Domestic,  Toilet  and  other  Soaps.  By  George  H.  Hurst,  F.C.S. 
2nd  edition.  390  pp.  b6  Illustrations.  Demy  8vo.  Price  12s.  6d. 
net.  (Post  free,  13s.  home;  13s.  6d.  abroad.) 

TEXTILE  SOAPS  AND  OILS.  Handbook  on  the 

Preparation,  Properties  and  Analysis  of  the  Soaps  and  Oils  used 
in  Textile  Manufacturing,  Dyeing  and  Printing.  By  George 
H.  Hurst,  F.C.S.  Crown  Svo.  195  pp.  Price  5s.  net.  (Post 
free,  5s.  4d.  home  ; 5s.  6d.  abroad.) 

THE  HANDBOOK  OF  SOAP  MANUFACTURE 

By  Wm.  H.  Simmons,  B.Sc.  (Lond.),  F.C.S.  and  H.  A.  Appleton. 
Demy  8vo.  160  pp.  27  Illustrations.  Price  8s.  6d.  net.  (Post 
free,  8s.  lOd.  home  ; 9s.  abroad.) 

MANUAL  OF  TOILET  SOAPMAKING,  including 

Medicated  Soaps  Stain-removing  Soaps,  Metal  Polishing  Soaps, 
Soap  Powders  and  Detergents.  Translated  from  the  German 
of  Dr.  C.  Deite.  Demy  quarto.  15.0  pages.  79  Illustrations. 
Price  12s.  6d.  net.  (Post  free,  13s.  home  ; 13s.  6d.  abroad  ) 

(Cosmetical  Preparations.) 

COSMETICS:  MANUFACTURE,  EMPLOYMENT 

AND  TESTING  OF  ALL  COSMETIC 
MATERIALS  AND  COSMETIC  SPECIALITIES. 

Translated  from  the  German  of  Dr.  Theodor  Roller.  Crown 
Svo.  2o2  pp.  Price  5s.  net.  (Post  free,  5s.  4d.  home  ; 5s.  6d. 
abroad.) 


8 


(Glue,  Bone  Products  and  Manures.) 

GLUE  AND  GLUE  TESTING.  By  Samuel  Rideal, 

D.Sc.  (Lond.),  F.I.C.  Fourteen  Engravings.  144  pp.  Demy 
8vo.  Pricel0s.6d.net.  (Post  free,  10s.  lOd.  home  ; 11s.  abroad.) 

BONE  PRODUCTS  AND  MANURES  : An  Account 

of  the  most  recent  Improvements  in  the  Manulacture  of  Fat, 
Glue,  Animal  Charcoal,  Size,  Gelatine  and  Manures.  By  Thomas 
Lambert,  Technical  and  Consulting  Chemist.  Second  Revised 
Edition.  Demy  8vo.  172  pages.  17  Illustrations.  Price  7s.  6d. 
net.  (Post  free,  7s.  lOd.  home  ; 8s.  abroad.) 

(See  also  Chemical  Manures,  p.  9.) 

(Chemicals,  Waste  Products,  etc.) 

REISSUE  OP  CHEMICAL  ESSAYS  OP  C.  W. 
SCHEELE.  First  Published  in  English  in  1786. 

Translated  from  the  Academy  of  Sciences  at  Stockholm,  with 
Additions.  300  pp.  Demy  8vo.  Price  5s.  net.  (Post  free,  5s.  6d. 
home  ; 5s.  9d.  abroad.) 

THE  MANUFACTURE  OF  ALUM  AND  THE  SUL- 
PHATES AND  OTHER  SALTS  OF  ALUMINA 

AND  IRON.  Their  Uses  and  Applications  as  Mordants 

in  Dyeing  and  Calico  Printing,  and  their  other  Applications  in 
the  Arts  Manufactures,  Sanitary  Engineering,  Agriculture  and 
Horticulture.  Translated  from  the  French  of  Lucien  Gesch- 
wind.  195  Illustrations.  400  pp.  Royal  8vo.  Price  12s.  6d. 
net.  (Post  free,  13s.  home  ; 13s.  6d.  abroad.) 

AMMONIA  AND  ITS  COMPOUNDS:  Their  Manu- 
facture and  Uses.  By  Camille  Vincent,  Professor  at  the 
Central  School  of  Arts  and  Manufactures,  Paris.  Translated 
from  the  French  by  M.  J.  Salter.  Royal  Svo.  114  pp.  Thirty- 
two  Illustrations.  Price  5s.  net.  (Post  free,  5s.  4d.  home; 
5s.  6d.  abroad.) 

CHEMICAL  WORKS:  Their  Design,  Erection,  and 

Equipment.  By  S.  S.  Dyson  and  S.  S.  Clarkson.  Royal  Svo. 
220  pp.  With  9 Folding  Plates  and  » 0 Illustrations.  Price  21s. 
net.  (Post  free,  21s.  6d.  home;  22s.  abroad.) 

MANUAL  OF  CHEMICAL  ANALYSIS,  as  applied  to 

the  Assay  of  Fuels,  Ores,  Metals,  Alloys,  Salts  and  other  Mineral 
Products.  By  E.  Prost,  D.Sc.  Translated  by  J.  Cruickshank 
Smith,  B.Sc.  Royal  Svo.  300  pages.  44  Illustrations.  Price 
12s.  6d.  net.  (Post  free,  13s.  home  ; 13s.  6d.  abroad.) 

TESTING  OF  CHEMICAL  REAGENTS  FOR 
PURITY.  Translated  from  the  German  of  Dr.  C 
Krauch.  Royal  Svo.  350  pages.  Price  12s.  6d.  net.  (Post  free 
13s.  home  ; 13s.  6d.  abroad.) 


For  contents  of  these  books,  see  List  I. 


9 


SHALE  OILS  AND  TARS  and  their  Products.  By 

Dr.  W.  Scheithauer.  Translated  from  the  German.  Demy  8vo. 
190  pages.  70  Illustrations  and  4 Diagrams.  Price  8s.  6d.  net. 
(Post  free,  8s.  lOd.  home;  9s.  abroad).  [Just  published. 

INDUSTRIAL  ALCOHOL.  A Practical  Manual  on  the 

Production  and  Use  of  Alcohol  for  Industrial  Purposes  and  for 
Use  as  a Heating  Agent,  as  an  Illuminant  and  as  a Source  of 
Motive  Power.  By  J.  G.  McIntosh,  Lecturer  on  Manufacture 
and  Applications  of  Industrial  Alcohol  at  The  Polytechnic, 
Regent  Street,  London.  Demy  8vo.  1907.  250  pp.  With  75 

Illustrations  and  25  Tables.  Price  7s.  6d.  net.  (Post  free,  7s.  9d. 
home ; 8s.  abroad.) 

THE  UTILISATION  OF  WASTE  PRODUCTS.  A 

Treatise  on  the  Rational  Utilisation,  Recovery  and  Treatment  of 
Waste  Products  of  all  kinds.  By  Dr.  Theodor  Roller.  Trans- 
lated from  the  Second  Revised  German  Edition.  Twenty-two 
Illustrations.  Demy  8vo.  280  pp.  Price  7s.  6d.  net.  (Post  free, 
7s.  lOd.  home;  8s.  3d.  abroad.) 

ANALYSIS  OF  RESINS  AND  BALSAMS.  Trans- 
lated from  the  German  of  Dr.  Karl  Dieterich.  Demy  8vo. 
340  pp.  Price  7s.  6d.  net.  (Post  free,  7s.  lOd.  home;  8s.  3d. 
abroad.) 

DISTILLATION  OF  RESINS,  RESINATE  LAKES 
AND  PIGMENTS,  CARBON  PIGMENTS  AND 
PIGMENTS  FOR  TYPEWRITING  MACHINES, 
MANIFOLDERS,  ETC.  By  Victor  Schweizer. 

Demy8vo.  185  pages.  68  Illustrations.  Price  7s.  6d.  net.  (Post 
free,  8s.  home  ; 8s.  3d.  abroad.) 

DISINFECTION  AND  DISINFECTANTS.  By  Dr. 

M.  Christian.  Crown  8vo.  [In  the  press. 

(Agricultural  Chemistry  and  Manures.) 

MANUAL  OF  AGRICULTURAL  CHEMISTRY.  By 

Herbert  Ingle,  F.I.C.,  Late  Lecturer  on  Agricultural  Chemistry, 
the  Leeds  University;  Lecturer  in  the  Victoria  University. 
Third  and  Revised  Edition.  400  pp.  16  Illustrations.  Demy 
8vo.  Price  7s.  6d.  net.  (Post  free,  8s.  home ; 8s.  6d.  abroad.) 

[Just  published. 

CHEMICAL  MANURES.  Translated  from  the  French 
of  J.  Fritsch.  Demy  8vo.  Illustrated.  340  pp.  Price  10s.  6d. 
net.  (Post  free,  11s.  home;  11s.  6d.  abroad.) 

( See  also  Bone  Products  and  Manures , p.  8.) 

(Writing  Inks  and  Sealing  Waxes.) 

INK  MANUFACTURE : Including  Writing,  Copying, 

Lithographic,  Marking,  Stamping,  and  Laundry  Inks.  By 
Sigmund  Lehner.  Three  Illustrations.  Crown  8vo.  162  pp. 
Translated  from  the  German  of  the  Fifth  Edition.  Price  5s.  net. 
^Post  free,  5s.  3d.  home  ; 5s.  6d.  abroad.) 


10 


SEALING  - WAXES,  WAFERS  AND  OTHER 
ADHESIVES  FOR  THE  HOUSEHOLD,  OFFICE, 
WORKSHOP  AND  FACTORY.  By  H.  C.  Standage. 
Crown  8vo.  96  pp.  Price  5s.  net.  (Post  free,  5s.  3d.  home  ; 
5s.  4d.  abroad.) 

(Lead  Ores  and  Lead  Compounds.) 

LEAD  AND  ITS  COMPOUNDS.  By  Thos.  Lambert, 

Technical  and  Consulting  Chemist.  Demy  8vo.  226  pp.  Forty 
Illustrations.  Price  7s.  6d.  net.  (Post  free,  7s.  lOd.  home ; 
8s.  3d.  abroad.) 

NOTES  ON  LEAD  ORES:  Their  Distribution  and  Pro- 
perties. By  Jas.  Fairie,  F.G.S.  Crown  8vo.  64  pages.  Price 
Is.  net.  (Post  free,  Is.  3d.  home  ; Is.  4d.  abroad.) 

(White  Lead  and  Zinc  White  Paints,  see  p.  5.) 

(Industrial  Hygiene.) 

THE  RISKS  AND  DANGERS  TO  HEALTH  OF 
VARIOUS  OCCUPATIONS  AND  THEIR  PRE- 
VENTION. By  Leonard  A.  Parry,  M.D.,  B.Sc. 
(Lond.).  196  pp.  Demy  8vo.  Price  7s.  6d.  net.  (Post  free, 
7s.  lOd.  home  ; 8s.  abroad.) 

(Industrial  Uses  of  Air,  Steam  and 
Water.) 

DRYING  BY  MEANS  OF  AIR  AND  STEAM.  Ex- 

planations,  Formulae,  and  Tables  for  Use  in  Practice.  Trans- 
lated from  the  German  of  E.  Hausbrand.  Two  folding  Diagrams 
and  Thirteen  Tables.  Crown  8vo.  72  pp.  Price  5s.  net.  (Post 
free,  5s.  3d.  home ; 5s.  6d.  abroad.) 

(See  also  “ Evaporating,  Condensing  and  Cooling  Apparatus p.  19.) 

PURE  AIR,  OZONE  AND  WATER.  A Practical 

Treatise  of  their  Utilisation  and  Value  in  Oil,  Grease,  Soap,  Paint, 
Glue  and  other  Industries.  By  W.  B.  Cowell.  Twelve  Illus- 
trations. Crown  8vo.  85  pp.  Price  5s.  net.  (Post  free,  5s.  3d. 
home;  5s.  6d.  abroad.) 

THE  INDUSTRIAL  USES  OF  WATER.  COMPOSI- 
TION-EFFECTS— TROUBLES  — REMEDIES  — 
RESIDUARY  WATERS  — PURIFICATION— AN- 
ALYSIS. By  H.  de  la  Coux.  Royal  8vo.  Trans- 
lated from  the  French  and  Revised  by  Arthur  Morris.  364  pp. 
135  Illustrations.  Price  10s.  6d.  net.  (Post  free,  l;s.  home; 
11s.  6d.  abroad.) 

(Srr  Books  on  Smoke  Prevention , Engineering  and  Metallurgy , p.  19,  etc.) 


For  contents  of  these  books,  see  List  III. 


11 


(X  Rays.) 

PRACTICAL  X RAY  WORK.  By  Frank  T.  Addyman, 

B.Sc.  (Lond.),  F.I.C.,  Member  of  the  Roentgen  Society  of  London  ; 
Radiographer  to  St.  George’s  Hospital ; Demonstrator  of  Physics 
and  Chemistry,  and  Teacher  of  Radiography  in  St.  George’s 
Hospital  Medical  School.  Demy  8vo.  Twelve  Plates  from 
Photographs  of  X Ray  Work.  Fifty-two  Illustrations.  200  pp. 
Price  10s.  6d.  net.  (Post  free,  10s.  lOd.  home;  11s.  3d.  abroad.) 

( I ndia= Rubber  and  Qutta  Percha.) 

INDIA-RUBBER  AND  GUTTA  PERCHA.  Second 

English  Edition,  Revised  and  Enlarged.  Based  on  the  French 
work  of  T.  Seeligmann,  G.  Lamy  Torrilhon  and  H.  Falconnet 
by  John  Geddes  McIntosh.  Royal  8vo.  100  Illustrations.  400 
pages.  Price  12s.  6d.  net.  (Post  free,  13s.  home;  13s.  6d. 
abroad.) 

(Leather  Trades.) 

THE  LEATHER  WORKERS  MANUAL.  Being  a 

Compendium  of  Practical  Recipes  and  Working  Formulae  for 
Curriers,  Bootmakers,  Leather  Dressers,  Blacking  Manufac- 
turers, Saddlers,  Fancy  Leather  Workers.  By  H.  C.  Standage. 
Demy  8vo.  165  pp.  Price  7s.  6d.  net.  (Post  free,  7s.  lOd.  home ; 
8s.  abroad.) 

( See  also  Manufacture  of  Shoe  Polishes,  Leather  Dressings,  etc.,  p.  6.) 

(Pottery,  Bricks,  Tiles,  Glass,  etc.) 

MODERN  BRICKMAKING.  By  Alfred  B.  Searle, 
Royal  8vo.  440  pages.  260  Illustrations.  Price  12s.  6d.  net. 
(Post  free,  13s.  home;  13s.  6d.  abroad.) 

THE  MANUAL  OF  PRACTICAL  POTTING.  Com- 
piled by  Experts,  and  Edited  by  Chas.  F.  Binns.  Third  Edition, 
Revised  and  Enlarged.  200  pp.  Demy  8vo.  Price  17s.  6d.  net. 
(Post  free,  17s.  lOd.  home;  18s.  3d.  abroad.) 

POTTERY  DECORATING.  A Description  of  all  the  Pro- 
cesses for  Decorating  Pottery  and  Porcelain.  By  R.  Hainbach. 
Translated  from  the  German.  Crown  8vo.  250  pp.  Twenty- 
two  Illustrations.  Price  7s.  6d.  net.  (Post  free,  7s.  lOd.  home  ; 
8s.  abroad.) 

A TREATISE  ON  CERAMIC  INDUSTRIES.  A 

Complete  Manual  for  Pottery,  Tile,  and  Brick  Manufacturers.  By 
Emile  Bourry.  A Revised  Translation  from  the  French,  with 
some  Critical  Notes  by  Alfred  B.  Searle.  Demy  8vo.  308 
Illustrations.  460  pp.  Price  12s.  6d.  net.  (Post  free,  13s.  home; 
13s.  6d.  abroad.) 


12 


ARCHITECTURAL  POTTERY.  Bricks,  Tiles,  Pipes, 

Enamelled  Terra-cottas,  Ordinary  and  Incrusted  Quarries,  Stone- 
ware Mosaics,  Faiences  and  Architectural  Stoneware.  By  Leon 
Lefevre.  Translated  from  the  French  by  K.  H.  Bird,  M.A., 
and  W.  Moore  Binns.  With  Five  Plates.  950  Illustrations  in 
the  Text,  and  numerous  estimates.  500  pp.  Royal  8vo.  Price 
15s.  net.  (Post  free,  15s.  6d.  home;  16s.  6d.  abroad.) 

CERAMIC  TECHNOLOGY:  Being  some  Aspects  of 

Technical  Science  as  Applied  to  Pottery  Manufacture.  Edited 
by  Charles  F.  Binns.  100  pp.  Demy  8vo.  Price  12s.  6d.  net. 
(Post  free,  12s.  lOd.  home  ; 13s.  abroad.) 

THE  ART  OF  RIVETING  GLASS,  CHINA  AND 
EARTHENWARE.  By  J.  Howorth.  Second 

Edition.  Paper  Cover.  Pricels.net.  (By  post,  home  or  abroad, 
Is.  Id.) 

NOTES  ON  POTTERY  CLAYS.  The  Distribution, 

Properties,  Uses  and  Analyses  of  Ball  Clays,  China  Clays  and 
China  Stone.  By  Jas.  Fairie,  F.G.S.  132  pp.  Crown  8vo. 
Price  3s.  6d.  net.  (Post  free,  3s.  9d.  home  ; 3s.  lOd.  abroad.) 

HOW  TO  ANALYSE  CLAY.  By  H.  M.  Ashby.  Demy 
8vo.  72  Pages.  20  Illustrations.  Price  3s.  6d.  net.  (Post  free, 
3s.  9d.  home  ; 3s.  lOd.  abroad.) 

A Reissue  of 

THE  HISTORY  OF  THE  STAFFORDSHIRE  POT- 
TERIES; AND  THE  RISE  AND  PROGRESS 
OF  THE  MANUFACTURE  OF  POTTERY  AND 
PORCELAIN.  With  References  to  Genuine  Specimens, 
and  Notices  of  Eminent  Potters.  By  Simeon  Shaw.  (Originally 
published  in  1829.)  265  pp.  Demy  8vo.  Price  5s.  net.  (Post 

free,  5s.  4d.  home ; 5s.  9d.  abroad.) 

A Reissue  of 

THE  CHEMISTRY  OF  THE  SEVERAL  NATURAL 
AND  ARTIFICIAL  HETEROGENEOUS  COM- 
POUNDS USED  IN  MANUFACTURING  POR- 
CELAIN, GLASS  AND  POTTERY.  By  Simeon 

Shaw.  (Originally  published  in  1837.)  750  pp.  Royal  8vo. 

Price  10s.  net.  (Post  free,  10s.  6d.  home ; 12s.  abroad.) 

BRITISH  POTTERY  MARKS.  By  G.  Woolliscroft 

Rhead.  Demy  8vo.  310  pp.  With  over  Twelve-hundred  Illus- 
trations of  Marks.  Price  7s.  6d.  net.  (Post  free,  8s.  home ; 
8s.  3d.  abroad.) 


For  contents  of  these  books , see  List  III. 


13 


(Glassware,  Glass  Staining  and  Painting.) 

RECIPES  FOR  FLINT  GLASS  MAKING.  By  a 

British  Glass  Master  and  Mixer.  Sixty  Recipes.  Being  Leaves 
from  the  Mixing  Book  of  several  experts  in  the  Flint  Glass  Trade, 
containing  up-to-date  recipes  and  valuable  information  as  to 
Crystal,  Demi-crystal  and  Coloured  Glass  in  its  many  varieties. 
It  contains  the  recipes  for  cheap  metal  suited  to  pressing,  blow- 
ing, etc.,  as  well  as  the  most  costly  crystal  and  ruby.  Second 
Edition.  Crown  8vo.  Price  10s.  6d.  net.  (Post  free,  10s.  9d. 
home;  10s.  lOd.  abroad.) 

A TREATISE  ON  THE  ART  OF  GLASS  PAINT- 
ING. Prefaced  with  a Review  of  Ancient  Glass.  By 
Ernest  R.  Suffling.  With  One  Coloured  Plate  and  Thirty- 
seven  Illustrations.  Demy  8vo.  140  pp.  Price  7s.  6d.  net. 
(Post  free,  7s.  lOd.  home;  8s.  abroad.) 

(Paper  Making',  Paper  Dyeing,  and 
Testing.) 

THE  DYEING  OF  PAPER  PULP.  A Practical 

Treatise  for  the  use  of  Papermakers,  Paperstainers,  Students 
and  others.  By  Julius  Erfurt,  Manager  of  a Paper  Mill. 
Translated  into  English  and  Edited  with  Additions  by  Julius 
Hubner,  F.C.S.,  Lecturer  on  Papermaking  at  the  Manchester 
Municipal  Technical  School.  With  illustrations  and  157  patterns 
Of  paper  dyed  in  the  pulp.  Royal  8vo,  180  pp.  Price  15s.  net. 
(Post  free,  15s.  6d.  home;  16s.  6d.  abroad). 

THE  PAPER  MILL  CHEMIST.  By  Henry  P.  Stevens, 

M.A.,  Ph.D.,  F.I.C.  Royal  12mo.  60  illustrations.  300  pp. 

Price  7s.  6d.  net.  (Post  free,  7s.  9d.  home  ; 7s.  lOd.  abroad.) 

THE  TREATMENT  OF  PAPER  FOR  SPECIAL 
PURPOSES.  By  L.  E.  Andes.  Translated  from  the 

German.  Crown  8vo.  48  Illustrations  250  pp.  Price  6s.  net. 
(Post  free,  6s.  4d.  home ; 6s.  6d.  abroad.) 

(Enamelling  on  Metal.) 

ENAMELS  AND  ENAMELLING.  For  Enamel 

Makers,  Workers  in  Gold  and  Silver,  and  Manufacturers  of 
Objects  of  Art.  By  Paul  Randau.  Second  and  Revised 
Edition.  Translated  from  the  German.  With  16  Illustrations. 
Demy  8vo.  200  pp.  Price  10s.  6d.  net.  (Post  free,  10s.  lOd. 
home;  11s.  abroad.)  [Just  published. 

THE  ART  OF  ENAMELLING  ON  METAL.  By 

W.  Norman  Brown.  Twenty-eight  Illustrations.  Crown  8vo. 
60  pp.  Price  2s.  6d.  net.  (Post  free,  2s.  9d.  home  and  abroad.) 


14 


(Textile  and  Dyeing  Subjects.) 

THE  FINISHING  OF  TEXTILE  FABRICS  (Woollen, 

Worsted,  Union  and  other  Cloths).  By  Roberts  Beaumont, 
M.Sc.,  M.I.Mech.E.,  Professor  of  Textile  Industries,  the  Univer- 
sity of  Leeds ; Author  of  “ Colour  in  Woven  Design  ” ; “ Woollen 
and  Worsted  Cloth  Manufacture”;  “Woven  Fabrics  at  the 
World’s  Fair  ” ; Vice-President  of  the  Jury  of  Award  at  the  Paris 
Exhibition,  1900  ; Inspector  of  Textile  Institutes  ; Society  of 
Arts  Silver  Medallist ; Honorary  Medallist  of  the  City  and  Guilds 
of  London  Institute.  With  150  Illustrations  of  Fibres,  Yarns 
and  Fabrics,  also  Sectional  and  other  Drawings  of  Finishing 
Machinery  Demy  8vo.  260  pp.  Price  10s.  6d.  net.  (Post  free, 
10s.  lOd.  home;  11s.  3d.  abroad.) 

FIBRES  USED  IN  TEXTILE  AND  ALLIED  IN- 
DUSTRIES. By  C.  Ainsworth  Mitchell,  B.A. 
(Oxon.),  F.I.C.,  and  R.  M.  Prideaux,  F.I.C.  With  66  Illustra- 
tions specially  drawn  direct  from  the  Fibres.  Demy  8vo. 
200  pp.  Price  7s.  6d.  net.  (Post  free,  7s.  lOd.  home  ; 8s.  abroad.) 

DRESSINGS  AND  FINISHINGS  FOR  TEXTILE 
FABRICS  AND  THEIR  APPLICATION.  De- 
scription of  all  the  Materials  used  in  Dressing  Textiles  : Their 
Special  Properties,  the  preparation  of  Dressings  and  their  em- 
ployment in  Finishing  Linen,  Cotton,  Woollen  and  Silk  Fabrics. 
Fireproof  and  Waterproof  Dressings,  together  with  the  principal 
machinery  employed.  Translated  from  the  Third  German 
Edition  of  Friedrich  Polleyn.  Demy  8vo.  280  pp.  Sixty 
Illustrations.  Price  7s.  6d.  net.  (Post  free,  7s.  lOd.  home  ; 
8s.  abroad.) 

THE  CHEMICAL  TECHNOLOGY  OF  TEXTILE 
FIBRES  : Their  Origin,  Structure,  Preparation.  Wash- 
ing, Bleaching,  Dyeing,  Printing  and  Dressing.  By  Dr.  Georg 
von  Georgievics.  Translated  from  the  German  by  Charles 
Salter.  320  pp.  Forty-seven  Illustrations.  Royal  8vo.  Price 
10s.  6d.  net.  (Post  free,  11s.  home  ; 11s.  3d.  abroad.) 

POWER-LOOM  WEAVING  AND  YARN  NUMBER- 
ING, According  to  Various  Systems,  with  Conversion 
Tables.  Translated  from  the  German  of  Anthon  Gruner.  With 
Twenty-six  Diagrams  in  Colours.  150  pp.  Crown  8vo.  Price 
7s.  6d.  net.  (Post  free,  7s.  9d.  home;  8s.  abroad.) 

TEXTILE  RAW  MATERIALS  AND  THEIR  CON- 
VERSION INTO  YARNS.  (The  Study  of  the  Raw 

Materials  and  the  Technology  of  the  Spinning  Process.)  By 
Julius  Zipser.  Translated  from  German  by  Charles  Salter. 
302  Illustrations.  500  pp.  Demy  8vo.  Price  10s.  6d.  net. 
(Post  free,  11s.  home  ; 11s.  6d.  abroad.) 


For  contents  of  these  hooks , see  List  II. 


15 


GRAMMAR  OF  TEXTILE  DESIGN.  By  H.  Nisbet, 

Weaving  and  Designing  Master,  Bolton  Municipal  Technical 
School.  Demy  8vo.  280  pp.  490  Illustrations  and  Diagrams. 
Price  6s.  net.  (Post  free,  6s.  4d.  home;  6s.  6d.  abroad.) 

ART  NEEDLEWORK  AND  DESIGN.  POINT 
LACE.  A Manual  of  Applied  Art  for  Secondary  Schools 
and  Continuation  Classes.  By  M.  E.  Wilkinson.  Oblong 
quarto.  With  22  Plates.  Bound  in  Art  Linen.  Price  3s.  6d. 
net.  (Post  free,  3s.  lOd.  home  ; 4s.  abroad.) 

HOME  LACE-MAKING.  A Handbook  for  Teachers  and 
Pupils.  By  M.  E.  W.  Milroy.  Crown  8vo.  64  pp.  With  3 
Plates  and  9 Diagrams.  Price  Is.  ner.  (Post  free;  Is.  3d.  home  ; 
Is.  4d.  abroad.) 

THE  CHEMISTRY  OF  HAT  MANUFACTURING. 

Lectures  delivered  before  the  Hat  Manufacturers’  Association. 
By  Watson  Smith,  F.C.S.,  F.I.C.  Revised  and  Edited  by 
Albert  Shonk.  Crown  8vo.  132  pp.  16  Illustrations.  Price 
7s.  6d.  net.  (Post  free,  7s.  9d.  home  ; 7s.  lOd.  abroad.) 

THE  TECHNICAL  TESTING  OF  YARNS  AND 
TEXTILE  FABRICS.  With  Reference  to  Official 

Specifications  Translated  from  the  German  of  Dr.  J.  Herzfeld. 
Second  Edition.  Sixty-nine  Illustrations.  200  pp.  Demy  8vo. 
Price  10s.  6d  net.  (Post  free,  10s.  lOd.  home;  11s.  abroad.) 

DECORATIVE  AND  FANCY  TEXTILE  FABRICS. 

By  R.  T.  Lord.  For  Manufacturers  and  Designers  of  Carpets, 
Damask,  Dress  and  all  Textile  Fabrics.  200  pp.  Demy  8vo. 
132  Designs  and  Illustrations.  Price  7s.  6d.  net.  (Post  free, 
7s.  lOd.  home;  8s.  abroad) 

THEORY  AND  PRACTICE  OF  DAMASK  WEAV- 
ING. By  H.  Kinzer  and  K.  Walter.  Royal  8vo. 

Eighteen  Folding  Plates.  Six  Illustrations.  Translated  from 
the  German.  110pp.  Prlce8s.6d.net.  (Post  free,  9s.  home; 
9s.  6d.  abroad.) 

FAULTS  IN  THE  MANUFACTURE  OF  WOOLLEN 
GOODS  AND  THEIR  PREVENTION.  By 

Nicolas  Reiser.  Translated  from  the  Second  German  Edition. 
Crown  8vo.  Sixty-three  Illustrations.  170  pp.  Price  5s.  net. 
(Post  free,  5s.  4d.  home  ; 5s.  6d.  abroad.) 

SPINNING  AND  WEAVING  CALCULATIONS, 

especially  relating  to  Woollens.  From  the  German  of  N. 
Reiser.  Thirty-four  Illustrations.  Tables.  160  pp.  Dem. 
8vo.  1904.  Price  10s.  6d.  net.  (Post  free,  10s.  lOd.  home;  11s. 
abroad.) 


16 


ANALYSIS  OF  WOVEN  FABRICS.  By  A.  F.  Barker 

and  E.  Midgley.  Demy  8vo.  About  2C0  pages  [In  the  press. 

WATERPROOFING  OF  FABRICS.  By  Dr.  S.  Mier- 

zinski.  Crown  8vo.  104  pp.  29  Illus.  Price  5s.  net.  (Post 
free,  5s.  3d.  home ; 5s.  4d.  abroad.) 

HOW  TO  MAKE  A WOOLLEN  MILL  PAY.  By 

John  Mackie.  Crown  8vo.  76  pp.  Price  3s.  6d.  net.  (Post 
free,  3s.  9d.  home;  3s.  lOd.  abroad.) 

YARN  AND  WARP  SIZING  IN  ALL  ITS 
BRANCHES.  Translated  from  the  German  of  Carl 
Kretschmar.  Royal  8vo.  123  Illustrations.  150  pp.  Price 
10s.  6d.  net.  (Post  free,  10s.  lOd.  home;  11s.  abroad.) 

( For  “ Textile  Soaps  and  Oils  ” see  p.  7.) 

(Dyeing,  Colour  Printing,  Matching 
and  Dye=stuffs.) 

THE  COLOUR  PRINTING  OP  CARPET  YARNS. 

Manual  for  Colour  Chemists  and  Textile  Printers.  By  David 
Paterson,  F.C.S.  Seventeen  Illustrations.  136  pp.  Demy 
8vo.  Price  7s.  6d.  net.  (Post  free,  7s.  lOd.  home  ; 8s.  abroad.) 

THE  SCIENCE  OF  COLOUR  MIXING.  A Manual 

intended  for  the  use  of  Dyers,  Calico  Printers  and  Colour 
Chemists.  By  David  Paterson,  F.C.S.  Forty-one  Illustrations. 

Five  Coloured  Plates,  and  Four  Plates  showing:  Eleven  Dyed 
Specimens  Of  Fabrics.  132  pp.  Demy  8vo.  Price  7s.  6d.  net. 
(Post  free,  7s.  lOd.  home  ; 8s.  abroad.) 

DYERS’  MATERIALS  : An  Introduction  to  the  Examina- 
tion, Evaluation  and  Application  of  the  most  important  Sub- 
stances used  in  Dyeing,  Printing,  Bleaching  and  Finishing.  By 
Paul  Heerman,  Ph.D.  Translated  from  the  German  by  A.  C. 
Wright,  M.A.  (Oxon).,  B.Sc.  (Lond.).  Twenty-four  Illustrations. 
Crown  8vo.  150  pp.  Price  5s.  net.  (Post  free,  5s.  4d.  home  ; 
5s.  6d.  abroad.) 

COLOUR  MATCHING  ON  TEXTILES.  A Manual 

intended  for  the  use  of  Students  of  Colour  Chemistry,  Dyeing  and 
Textile  Printing.  By  David  Paterson,  F.C.S.  Coloured  Frontis-. 
piece.  Twenty-nine  Illustrations  and  Fourteen  Specimens  Of 
Dyed  Fabrics.  Demy  8vo.  132  pp.  Price  7s.  6d.  net.  (Post 
free,  7s.  lOd  home;  8s.  abroad.) 

COLOUR  : A HANDBOOK  OF  THE  THEORY  OF 
COLOUR.  By  G eorge  H.  Hurst,  F.C.S.  With  Ten 
Coloured  Plates  and  Seventy  two  Illustrations.  160  pp  Demy 
8vo.  Price  7s.  fc'd.  net.  (Post  free,  7s.  lOd.  home  ; 8s.  abroad.) 


For  contents  of  these  books , see  List  II. 


17 


Reissue  of 

THE  ART  OF  DYEING  WOOL,  SILK  AND 
COTTON.  Translated  from  the  French  of  M.  Hellot, 
M.  Macquer  and  M.  le  Pileur  D’Apligny.  First  Published  in 
English  in  1789.  Six  Plates.  Demy  Svo.  446  pp.  Price5s.net. 
(Post  free,  5s.  6d.  home ; 6s.  abroad.) 

THE  CHEMISTRY  OF  DYE-STUFFS.  By  Dr.  Georg 

Von  Georgievics.  Translated  from  the  Second  German  Edition. 
412  pp.  Demy  Svo.  Price  10s.  6d.  net.  (Post  free,  11s.  home; 
11s.  6d.  abroad.) 

THE  DYEING  OF  COTTON  FABRICS  : A Practical 

Handbook  for  the  D>er  and  Student.  By  Franklin  Beech, 
Practical  Colourist  and  Chemist.  272  pp.  Forty-four  Illus- 
trations of  Bleaching  and  Dyeing  Machinery.  Demy  Svo.  Price 
7s.  6d.  net.  (Post  free,  7s.  lCd.  home;  Ss.  abroad.) 

THE  DYEING  OF  WOOLLEN  FABRICS.  By 

Franklin  Beech,  Practical  Colourist  and  Chemist.  Thirty- 
three  Illustrations  Demy  8vo.  228  pp.  Price  7s.  6d.  net. 
(Post  free,  7s.  lOd.  home;  8s.  abroad.) 

(Silk  Manufacture.) 

SILK  THROWING  AND  WASTE  SILK  SPIN- 
NING.  By  Hollins  Rayner.  Demy  8vo.  170  pp. 
117  Ulus.  Price5s.net.  (Post  free,  5s.  4d.  home  ; 5s.  6d.  abroad.) 

(Bleaching  and  Bleaching  Agents.) 

A PRACTICAL  TREATISE  ON  THE  BLEACHING 
OF  LINEN  AND  COTTON  YARN  AND  FABRICS. 

By  L.  Tailfer,  Chemical  and  Mechanical  Engineer.  Trans- 
lated from  the  French  by  John  Geddes  McIntosh.  Demy  8vo. 
303  pp.  Twenty  Illus.  Price  12s.  6d.  net.  (Post  free,  13s. 
home;  13s.  6d.  abroad.) 

MODERN  BLEACHING  AGENTS  AND  DETER- 
GENTS. By  Professor  Max  Bottler.  Translated 
from  the  German.  Crown  Svo.  16  Illustrations.  160  pages. 
Price  5s.  net.  (Post  free,  5s.  3d.  home ; 5s.  6d.  abroad.) 

(Cotton  Spinning,  Cotton  Waste  and 
Cotton  Combing.) 

COTTON  SPINNING  (First  Year).  By  Thomas 

Thornley,  Spinning  Master,  Bolton  Technical  School.  160  pp. 
Eighty-four  Illustrations.  Crown  8vo.  Second  Impression. 
Price  3s.  net.  (Post  free,  3s.  4d.  home;  3s.  6d.  abroad.) 

COTTON  SPINNING  (Intermediate,  or  Second  Year). 
By  Thomas  Thornley.  Second  Impression.  180  pp.  Seventy 
Illustrations.  Crown  Svo.  Price  5s.  net.  (Post  free,  5s.  4d. 
home  ; 5s.  6d.  abroad.) 


18 


COTTON  SPINNING  (Honours,  or  Third  Year).  By 
Thomas  Thornley.  216  pp  Seventy-four  Illustrations. 
Crown  8vo.  Second  Edition.  Price  5s.  net.  (Post  free,  5s.  4d. 
home;  5s.  6d.  abroad.) 

COTTON  COMBING  MACHINES.  By  Thos.  Thorn- 

ley,  Spinning  Master,  Technical  School,  Bolton.  Demy  8vo. 
117  Illustrations.  300  pp.  Price  7s.  6d.  net.  (Post  free,  8s. 
home  ; 8s.  6d.  abroad.) 

COTTON  WASTE  : Its  Production,  Characteristics 

Regulation,  Opening,  Carding,  Spinning  and  Weaving.  By  Thomas 
Thornley.  DemySvo.  286  pages.  60  Illustrations.  Price  7s  6d. 
net.  (Post  free,  7s.  lOd.  home;  8s.  abroad.)  [Just  published. 

THE  RING  SPINNING  FRAME  : GUIDE  FOR 
OVERLOOKERS  AND  STUDENTS.  By  N.  Booth. 

Crown  8vo.  76  pages.  Price  3s.  net.  (Post  free,  3s.  3d.  home ; 
3s.  6d.  abroad.) 

(Flax,  Hemp  and  Jute  Spinning.) 

MODERN  FLAX,  HEMP  AND  JUTE  SPINNING 
AND  TWISTING.  A Practical  Handbook  for  the  use 

of  Flax,  Hemp  and  Jute  Spinners,  Thread,  Twine  and  Rope 
Makers.  By  Herbert  R.  Carter,  Mill  Manager,  Textile  Expert 
and  Engineer,  Examiner  in  Flax  Spinning  to  the  City  and  Guilds 
of  London  Institute.  Demy  8vo.  1907.  With  92  Illustrations. 
200  pp.  Price  7s.  6d.  net.  (Post  free,  7s.  9d.  home ; 8s.  abroad.) 

(Collieries  and  Mines.) 

RECOVERY  WORK  AFTER  PIT  FIRES.  By  Robert 

Lamprecht,  Mining  Engineer  and  Manager.  Translated  from 
the  German.  Illustrated  by  Six  large  Plates,  containing  Seventy- 
six  Illustrations.  1>1  pp.  Demy  8vo.  Price  10s.  6d.  net.  (Post 
free.  10s.  lOd.  home;  11s.  abroad.) 

VENTILATION  IN  MINES.  By  Robert  Wabner, 

Mining  Engineer.  Translated  from  the  German.  Royal  8vo. 
Thirty  Plates  and  Twenty-two  Illustrations.  240  pp.  Price 
10s.  6d.  net.  (Post  free,  11s.  home;  11s.  3d.  abroad.) 

HAULAGE  AND  WINDING  APPLIANCES  USED 
IN  MINES.  By  Carl  Volk.  Translated  from  the 
German.  Royal  8vo.  With  Six  Plates  and  148  Illustrations. 
150  pp.  Price  8s.  6d.  net.  (Post  free,  9s.  home  ; 9s.  3d.  abroad.) 

THE  ELECTRICAL  EQUIPMENT  OF  COLLIERIES. 

By  W.  Galloway  Duncan,  Electrical  and  Mechanical  Engineer, 
Member  of  the  Institution  of  Mining  Engineers,  Head  of  the 
Government  School  of  Engineering,  Dacca,  India;  and  David 
Penman,  Certificated  Colliery  Manager,  Lecturer  in  Mining  to 
Fife  County  Committee.  Demy  8vo.  310  pp.  155  Illustrations 
and  Diagrams.  Price  10s.  6d.  net.  (Post  free,  11s.  home;  11s.  3d. 
abroad.) 

For  contents  of  these  books,  see  Lists  II  and  III. 


(Dental  Metallurgy.) 

DENTAL  METALLURGY:  MANUAL  FOR  STU- 
DENTS AND  DENTISTS.  By  A.  B.  Griffiths, 

Ph.D.  Demy  8vo.  Thirty-six  Illustrations.  200  pp.  Price 
7s.  6d.  net.  (Post  free,  7s.  lOd.  home;  8s.  abroad.) 

(Engineering,  Smoke  Prevention  and 
Metallurgy.) 

THE  PREVENTION  OF  SMOKE.  Combined  with 

the  Economical  Combustion  of  Fuel.  By  W.  C.  Popplewell, 
M.Sc.,  A.M.  Inst.,  C.E.,  Consulting  Engineer.  Forty-six  Illus- 
trations. 190  pp.  Demy  8vo.  Price  7s.  6d.  net.  (Post  free, 
7s.  lOd.  home;  8s.  3d.  abroad.) 

GAS  AND  COAL  DUST  FIRING.  A Critical  Review 

of  the  Various  Appliances  Patented  in  Germany  for  this  purpose 
since  1885.  By  Albert  Putsch.  130  pp.  Demy  8vo.  Trans- 
lated from  the  German.  With  103  Illustrations.  Price  5s.  net. 
(Post  free,  5s.  4d.  home ; 5s.  6d.  abroad.) 

THE  HARDENING  AND  TEMPERING  OF  STEEL 
IN  THEORY  AND  PRACTICE.  By  Fridolin 

Reiser.  Translated  from  the  German  of  the  Third  Edition. 
Crown  8vo.  120  pp.  Price  5s.  net.  (Post  free,  5s.  3d.  home; 
5s.  4d.  abroad.) 

SIDEROLOGY:  THE  SCIENCE  OF  IRON  (The 

Constitution  of  Iron  Alloys  and  Slags).  Translated  from 
German  of  Hanns  Freiherr  v.  Juptner.  350  pp.  Demy  8vo. 
Eleven  Plates  and  Ten  Illustrations.  Price  10s.  6'd.  net.  (Post 
free,  11s.  home;  11s.  6d.  abroad.) 

EVAPORATING,  CONDENSING  AND  COOLING 
APPARATUS.  Explanations,  Formulae  and  Tables 
for  Use  in  Practice.  By  E.  Hausbrand,  Engineer.  Translated 
by  A.  C.  Wright,  M.A.  (Oxon.),  B.Sc.,  (Lond.).  With  Twenty- 
one  Illustrations  and  Seventy-six  Tables.  400  pp  Demy  8vo. 
Price  10s.  6d.  net.  (Post  free,  11s.  home;  11s.  6d.  abroad.) 

(The  “Broadway”  Series  of  Engineering 
Handbooks.) 

One  Uniform  Size:  Narrow  Crown  8vo.  (Pocket  Size.) 
Volume  I. — ELEMENTARY  PRINCIPLES  OF  RE- 
INFORCED CONCRETE  CONSTRUCTION.  By 

Ewart  S.  Andrews,  B.Sc.  Eng.  (Lond.).  200  pages.  With  57 
Illustrations.  Numerous  Tables  and  Worked  Examples.  Price 
3s.  net.  (Post  free,  3s.  3d.  home  ; 3s.  6d.  abroad.) 

Volume  II.— GAS  AND  OIL  ENGINES.  By  A. 

Kirschke.  Translated  and  Revised  from  the  German,  and 
adapted  to  English  practice.  160  pages.  55  Illustrations. 
Price  3s.  net.  (Post  free,  3s.  3d.  home ; 3s.  6d.  abroad.) 


20 


Volume  III.  — IRON  AND  STEEL  CONSTRUC- 
TIONAL WORK.  By  K.  Schindler.  Translated 

and  Revised  from  the  German,  and  adapted  to  English  practice. 
140  pages.  115  Illustrations.  Price  3s.  6d.  net.  (Post  Iree, 
3s.  9d.  home  ; 4s.  abroad.) 

Volume  IV.— TOOTHED  GEARING.  By  G.  T.  White, 
B.Sc.  (Lond.).  220  pages.  136  Illustrations.  Price  3s.  6d.  net. 
(Post  free,  3s.  9d.  home  ; 4s.  abroad.) 

Volume  V.— STEAM  TURBINES  : Their  Theory  and 

Construction.  By  H.  Wilda.  Translated  and  Revised  from  the 
German,  and  adapted  to  English  practice.  200  pages.  104  Illus- 
trations. Price  3s.  6d.  net.  (Post  free,  3s.  9d.  home ; 4s.  abroad.) 

[Just  published. 

Volume  VI.  — CRANES  AND  HOISTS.  By  H. 

Wilda.  [In  the  press 

Volume  VII.  — FOUNDRY  MACHINERY.  By  E, 

Treiber.  [In  the  press . 

Volume  VIII.— THE  CALCULUS  FOR  ENGINEERS. 

By  Ewart  S.  Andrews,  B.Sc.  Eng.  (Lond.),  and  H.  Bryon 
Heywood,  B.Sc.  (Lond.).  [In  preparation. 

Volume  IX.— ILLUMINATION  AND  LIGHTING. 

By  A.  Blok,  B.Sc.  [In  preparation. 

Volume  X.  — MOTOR  CAR  MECHANISM.  By 

W.  E.  Dommett.  - [In  preparation. 

(Sanitary  Plumbing,  Electric  Wiring, 
Metal  Work,  etc.) 

EXTERNAL  PLUMBING  WORK.  A Treatise  on 
Lead  Work  for  Roofs.  By  John  W.  Hart,  R.P.C.  180  Illustra- 
tions. 272  pp.  Den.y  8no.  Second  Edition  Revised.  Price 
7s.  6d.  net.  (Post  Iree,  7s.  lOd.  home;  8s.  abroad.) 

HINTS  TO  PLUMBERS  ON  JOINT  WIPING,  PIPE 
BENDING  AND  LEAD  BURNING.  Third  Edition, 

Revised  and  Corrected,  By  John  W.  Hart,  R.P.C.  184  Illus- 
trations. 313  pp.  Demy  8vo.  Price  7s.  6d.  net.  (Post  free, 
8s.  home ; 8s.  < d.  abroad.) 

SANITARY  PLUMBING  AND  DRAINAGE.  By 

John  W.  Hart.  Demy  8vo.  With  208  Illustrations.  250  pp. 
19J4.  Price  7s.  6d.  net.  (Post  free,  7s.  lOd.  home;  8s.  abroad.) 

ELECTRIC  WIRING  AND  FITTING.  By  Sydney  F. 
Walker,  R.N.,  M.I.E.E.,  M.I.Min.E.,  A.M.Inst.C.E.,  etc.,  etc. 
Crown  8vo.  150  pp.  With  Illustrations  and  Tables.  Price  5s. 
net.  (Post  free,  5s.  3d.  home  ; 5s.  6d.  abroad.) 

THE  PRINCIPLES  AND  PRACTICE  OF  DIPPING, 
BURNISHING,  LACQUERING  AND  BRONZ- 
ING BRASS  WARE.  By  W.  Norman  Brown.  48 

pp.  Crown  8vo.  Price  3s.  net.  (Post  free,  3s.  3d.  home  and 
abroad.) 


For  contents  of  these  books , see  List  III. 


21 


THE  DEVELOPMENT  OF  THE  INCANDESCENT 
ELECTRIC  LAMP.  By  G.  Basil  Barham,  A.M.I.E.E. 

Demy  8vo.  200  pages.  2 Plates  25  Illustrations  and  10  Tables. 
Price  5s.  net.  (Post  free,  5s.  4d.  home  ; 5s.  6d.  abroad.) 

[Just  published. 

WIRING  CALCULATIONS  FOR  ELECTRIC 
LIGHT  AND  POWER  INSTALLATIONS.  A 

Practical  Handbook  containing  Wiring  Tables,  Rules,  and 
Formulae  for  the  Use  of  Architects,  Engineers,  Mining  Engineers, 
and  Electricians,  Wiring  Contractors  and  Wiremen,  etc.  By  G. 
W.  Lummis  Paterson.  Crown  8vo.  96  pages.  35  Tables. 
Price  5s.  net.  (Post  free,  5s.  3d.  home  ; 5s.  6d.  abroad.) 

[Just  published. 

A HANDBOOK  ON  JAPANNING.  For  I ronware, 
Tinware,  and  Wood,  etc.  By  William  Norman  Brown. 
Second  Edition.  70  pages.  13  Illustrations.  Crown  8vo.  Price 
3s.  6d.  net.  (Post  free,  3s.  9d.  home  ; 4s.  abroad.) 

[Just  published. 

THE  PRINCIPLES  OF  HOT  WATER  SUPPLY.  By 

John  W.  Hart,  R.P.C.  With  129  Illustrations.  177  pp.  Demy 
8vo.  Price  7s.  6d.  net.  (Post  free,  7s.  lOd.  home ; 8s.  abroad.) 

(Brewing  and  Botanical.) 

HOPS  IN  THEIR  BOTANICAL,  AGRICULTURAL 
AND  TECHNICAL  ASPECT,  AND  AS  AN 
ARTICLE  OF  COMMERCE.  By  Emmanuel  Gross, 

Professor  at  the  Higher  Agricultural  College,  Tetschen-Liebwerd. 
Translated  from  the  German.  Seventy-eiyht  Illustrations.  340 
pp.  Demy  8vo.  Price  10s.  6d.  net.  (Post  free,  11s.  home  ; 
11s.  6d.  abroad.) 

INSECTICIDES,  FUNGICIDES  AND  WEED- 
KILLERS. By  E.  Bourcart,  D.Sc.  Translated  from 
the  French.  Revised  and  Adapted  to  British  Standards  and 
Practice.  Demy  8vo.  450  pages,  83  Tables,  and  12  Illustrations. 
Price  12s.  6d.  net.  (Post  free,  13s.  home  ; 13s.  6d.  abroad.) 

[For  Agricultural  Chemistry , see  p.  9 ) [Just  published. 

(Wood  Products,  Timber  and  Wood 
Waste.) 

WOOD  PRODUCTS  : DISTILLATES  AND  EX- 

TRACTS. By  P.  Dumesny,  Chemical  Engineer, 

Expert  before  the  Lyons  Commercial  Tribunal,  Member  of  the 
International  Association  of  Leather  Chemists;  and  J.  Noyer. 
Translated  from  the  French  by  Donald  Grant.  Royal  8vo. 
320  pp.  103  Illustrations  and  Numerous  Tables.  Price  10s.  6d. 
net.  (Post  free,  11s.  home;  11s.  6d.  abroad.) 

TIMBER  : A Comprehensive  Study  of  Wood  in  all  its 
Aspects  (Commercial  and  Botanical),  showing  the  different 
Applications  and  Uses  of  Timber  in  Various  Trades,  etc.  Trans- 
lated from  the  French  of  Paul  Charpentier.  Royal  Svo.  437 
pp.  178  Illustrations.  Price  12s.  6d.  net.  (Post  free,  13s. 
home;  14s.  abroad.) 


22 


THE  UTILISATION  OF  WOOD  WASTE.  Trans- 
lated from  the  German  of  Ernst  Hubbard.  Crown  8vo.  192 
pp.  Fifty  Illustrations.  Price  5s.  net.  (Post  free,  5s.  4d  home  ; 
5s.  6d.  abroad.) 

(See  also  Utilisation  of  Waste  Products , p.  9.) 

(Building  and  Architecture.) 

ORNAMENTAL  CEMENT  WORK.  By  Oliver 
Wheatley.  Demy  8vo.  83  Illustrations.  128  pp.  Price  5s. 
net.  (Post  free,  5s.  4d.  home  ; 5s.  6d.  abroad.) 

THE  PREVENTION  OF  DAMPNESS  IN  BUILD- 
INGS; with  Remarks  on  the  Causes,  Nature  and 
Effects  of  Saline,  Efflorescences  and  Dry-rot,  for  Architects, 
Builders,  Overseers,  Plasterers,  Painters  and  House  Owners. 
By  Adolf  Wilhelm  Keim.  Translated  from  the  German  of  the 
second  revised  Edition  by  M.  J.  Salter,  F.I.C.,  F.C.S.  Eight 
Coloured  Plates  and  Thirteen  Illustrations.  Crown  8vo.  115 
pp.  Price  5s.  net.  (Post  free,  5s.  3d.  home  ; 5s.  4d.  abroad.) 

HANDBOOK  OF  TECHNICAL  TERMS  USED  IN 
ARCHITECTURE  AND  BUILDING,  AND  THEIR 
ALLIED  TRADES  AND  SUBJECTS.  By  Augus- 
tine C.  Passmore.  Demy  Svo.  380  pp.  Price  7s.  6d.  net. 
(Post  free,  8s.  home  ; 8s.  6d.  abroad.) 

(Foods,  Drugs  and  Sweetmeats.) 

FOOD  AND  DRUGS.  By  E.J.  Parry,  B.Sc.,  F.I.C.,  F.C.S. 

Volume  I.  The  Analysis  of  Food  and  Drugs  (Chemical  and 
Microscopical).  Royal  8vo.  724  pp.  Price  21s.  net.  (Post 
free,  21s.  6d.  home  ; 22s.  6d.  British  Colonies;  23s.  3d.  other 
Foreign  Countries.) 

Volume  II.  The  Sale  of  Food  and  Drugs  Acts,  1875-1907. 
Royal  8vo.  184  pp.  Price  7s.  6d.  net.  (Post  free,  7s.  lOd. 
home  ; 8s.  abroad.) 

THE  MANUFACTURE  OF  PRESERVED  FOODS 
AND  SWEETMEATS.  By  A.  Hausner.  With 

Twenty-eight  Illustrations.  Translated  from  the  German  of  the 
third  enlarged  Edition.  Second  English  Edition.  Crown  8vo.  225 
pp.  Price  7s.  6d.  net.  (Post  free,  7s.  9d.  home ; 7s.  lOd.  abroad.) 

RECIPES  FOR  THE  PRESERVING  OF  FRUIT, 
VEGETABLES  AND  MEAT.  By  B.  Wagner. 

Translated  from  the  German.  Crown  Svo.  125  pp.  With  14 
Illustrations.  Price  5s.  net.  (Post  free,  5s.  3d.  home;  5s.  4d. 
abroad.) 


For  contents  of  these  books , see  List  III. 


23 


(Dyeing  Fancy  Goods.) 

THE  ART  OF  DYEING  AND  STAINING  MARBLE, 
ARTIFICIAL  STONE,  BONE,  HORN,  IVORY 
AND  WOOD,  AND  OF  IMITATING  ALL  SORTS 
OF  WOOD.  A Practical  Handbook  for  the  Use  of 

Joiners,  Turners,  Manufacturers  of  Fancy  Goods,  Stick  and 
Umbrella  Makers,  Comb  Makers,  etc.  Translated  from  the 
German  of  D.  H.  Soxhlet,  Technical  Chemist.  Crown  8vo. 
168  pp.  Price  5s.  net.  (Post  free,  5s.  3d.  home;  5s.  4d.  abroad.) 

(Celluloid.) 

CELLULOID  : Its  Raw  Material,  Manufacture,  Properties 

and  Uses.  A Handbook  for  Manufacturers  of  Celluloid  and 
Celluloid  Articles,  and  all  Industries  using  Celluloid  ; also  for 
Dentists  and  Teeth  Specialists.  By  Dr.  Fr.  Bockmann,  Tech- 
nical Chemist.  Translated  from  the  Third  Revised  German 
Edition.  Crown  8vo.  120  pp.  With  49  Illustrations.  Price  5s. 
net.  (Post  free,  5s.  3d.  home  ; 5s.  4d.  abroad.) 

(Lithography,  Printing  and 
Engraving.) 

PRACTICAL  LITHOGRAPHY.  By  Alfred  Seymour. 

Demy  8vo.  With  Frontispiece  and  33  Illus.  120  pp.  Price  5s. 
net.  (Post  free,  5s.  4d.  home  ; 5s.  6d.  abroad.) 

PRINTERS  AND  STATIONERS’  READY 
RECKONER  AND  COMPENDIUM,  Compiled  by 
Victor  Graham.  Crown  8vo.  112  pp.  1904.  Price3s.6d.net. 
(Post  free,  3s.  9d.  home  ; 3s.  lOd.  abroad.) 

ENGRAVING  FOR  ILLUSTRATION.  HISTORI- 
CAL AND  PRACTICAL  NOTES.  By  J.  Kirkbride. 

72  pp.  Two  Plates  and  6 Illustrations.  Crown  8vo.  Price 
2s.  6d.  net.  (Post  free,  2s.  9d.  home  ; 2s.  lOd.  abroad  ) 

[For  Printing  Inks,  see  p.  4.) 

(Bookbinding.) 

PRACTICAL  BOOKBINDING.  By  Paul  Adam. 

Translated  from  the  German.  Crown  8vo.  180  pp.  127  Illus- 
trations. Price  5s.  net.  (Post  free,  5s.  4d.  home  ; 5s.  6d.  abroad. 

(Sugar  Refining.) 

THE  TECHNOLOGY  OF  SUGAR:  Practical  Treatise 

on  the  Modern  Methods  of  Manufacture  of  Sugar  from  the  Sugar 
Cane  and  Sugar  Beet.  By  John  Geddes  McIntosh.  Second 
Revised  and  Enlarged  Edition.  Demy  8vo.  Fully  Illustrated. 
436  pp.  Seventy-six  Tables.  1906.  Price  10s.  6d.  net  (Post 
free,  11s.  home  ; 11s.  6d.  abroad.) 

( See  “ Evaporating,  Condensing,  etc.,  Apparatus p.  ig.) 


24 


(Emery.) 

EMERY  AND  THE  EMERY  INDUSTRY.  Trans- 

lated  from  the  German  of  A.  Haenig.  Crown  8vo.  45  Illustra- 
tions. 104  pp.  Price  5s.  net.  (Post  free,  5s.  3d.  home  ; 5s.  6d. 
abroad.) 

(Libraries  and  Bibliography.) 

CLASSIFIED  GUIDE  TO  TECHNICAL  AND  COM- 
MERCIAL  BOOKS.  Compiled  by  Edgar  Green- 
wood. Demy  8vo.  224  pp.  1904.  Being  a Subject-list  of  the 
Principal  British  and  American  Books  in  Print;  giving  Title, 
Author,  Size,  Date,  Publisher  and  Price.  Price  5s.  net.  (Post 
free,  5s.  4d.  home  ; 5s.  6d.  abroad.) 

HANDBOOK  TO  THE  TECHNICAL  AND  ART 
SCHOOLS  AND  COLLEGES  OF  THE  UNITED 
KINGDOM.  Containing  particulars  of  nearly  1,000 
Technical,  Commercial  and  Art  Schools  throughout  the  United 
Kingdom.  With  full  particulars  of  the  courses  of  instruction, 
names  of  principals,  secretaries,  etc.  Demy  8vo.  150  pp.  Price 
3s.  6d.  net.  (Post  free,  3s.  lOd.  home  ; 4s.  abroad.) 

THE  LIBRARIES,  MUSEUMS  AND  ART  GAL- 
LERIES 'YEAR  BOOK,  1910-11.  Being  the  Third 

Edition  of  Greenwood’s  ‘ British  Library  Year  Book  ”.  Edited 
by  Alex.  J.  Philip.  Demy  8vo.  286  pp.  Price  5s.  net.  (Post 
free,  5s.  4d.  home  ; 5s.  6d.  abroad.) 


THE  PLUMBING,  HEATING  AND  LIGHTING 
ANNUAL  FOR  1911.  The  Trade  Reference  Book 

for  Plumbers,  Sanitary,  Heating  and  Lighting  Engineers, 
Builders’  Merchants,  Contractors  and  Architects.  Including 
the  translation  of  Hermann  Recknagel’s  “ Kalender  fur  Gesund- 
heits  - Techniker,”  Handbook  for  Heating,  Ventilating,  and 
Domestic  Engineers,  of  which  Scott,  Greenwood  & Son  have 
purchased  the  sole  right  for  the  English  Language.  Quarto. 
Bound  in  cloth  and  gilt  lettered.  Price  3s.  net.  (Post  free, 
3s.  4d.  home  ; 3s.  8d  abroad.) 


SCOTT,  GREENWOOD  & SON, 

{Technical  Ji3ook  aitb  {TraDc  journal  publishers, 

8 Broadway,  Ludgate,  London,  E.C. 

Telegraphic  Address,  “ Printeries,  Cent.  = London  ”.  April , 1913. 


' 


